Kippenberger Psychobuildings - Revision history

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Contents

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	The idealism of architectural photography is everywhere undermined: small details in the foreground of an image snag the eye away from the ostensible architectural subject matter; ‘interesting architecture’ is documented in blurred photography, clearly taken from a passing car. The impulse to build is shown reduced to basics in a series of improvised barriers and furniture constructed from discarded materials.		The idealism of architectural photography is everywhere undermined: small details in the foreground of an image snag the eye away from the ostensible architectural subject matter; ‘interesting architecture’ is documented in blurred photography, clearly taken from a passing car. The impulse to build is shown reduced to basics in a series of improvised barriers and furniture constructed from discarded materials.

	[[File:Spread-7475.JPG\|200px\|thumb\|right\|Martin Kippenberger, ''Psychobuildings'', 1988. Page spread.]]If there is a relationship to modernism articulated in the preponderance of cast concrete structures in the book, it is an expedient rather than programmatic modernism, where simple construction in concrete becomes the default for those with small budgets and unfussy attitudes toward design.<ref>On the relationship of the architecture in ''Psychobuildings'' to modernism, see also Neville Wakefield, press release, “[https://www.antonkerngallery.com/exhibitions/~~psychoarchitecture_martin_kippenberger_richard_prince~~ Psychoarchitecture]” exhibition, Anton Kern Gallery New York, October 29 – November 28, 1998, retrieved May 14, 2019.</ref>		[[File:Spread-7475.JPG\|200px\|thumb\|right\|Martin Kippenberger, ''Psychobuildings'', 1988. Page spread.]]If there is a relationship to modernism articulated in the preponderance of cast concrete structures in the book, it is an expedient rather than programmatic modernism, where simple construction in concrete becomes the default for those with small budgets and unfussy attitudes toward design.<ref>On the relationship of the architecture in ''Psychobuildings'' to modernism, see also Neville Wakefield, press release, “[https://www.antonkerngallery.com/exhibitions/287-psychoarchitecture-martin-kippenberger-richard-prince/ Psychoarchitecture]” exhibition, Anton Kern Gallery New York, October 29 – November 28, 1998, retrieved May 14, 2019.</ref>

	Throughout, the sequence of images is interpolated with images of Kippenberger's own sculptural work, which often echoes the content seen in the photographs. In one image, the artist's ''Laufstall für Prospekte'', a wooden assemblage that formed part of his 1987 exhibition at Max Hetzler Gallery in Cologne, is photographed in the street, returning it to the kind of construction-barrier context which it already alluded to. Versions of Kippenberger's iconic ''Streetlamp for Drunks'' series of sculptures are shown alongside what may have been their inspiration: a tilting lamppost. And the semi-derelict gas station in Salvador, Brazil that the artist 'purchased'<ref>Apparently, the story that Kippenberger bought the station and had a telephone line installed and staffed, with the instruction that any incoming calls should be answered "Martin Bormann Gas Station", is a myth of the artist's own making. See: Eva Meyer-Hermann, "Martin Bormann Gas Station", in ''Nach Kippenberger'', 99. The artist's 'claim' on the station is nevertheless documented in a memorable series of images taken by his photography assistant on their 1986 Brazil trip, Ursula Böckler.</ref> and rechristened ''Martin Bormann Gas Station'' is also represented.		Throughout, the sequence of images is interpolated with images of Kippenberger's own sculptural work, which often echoes the content seen in the photographs. In one image, the artist's ''Laufstall für Prospekte'', a wooden assemblage that formed part of his 1987 exhibition at Max Hetzler Gallery in Cologne, is photographed in the street, returning it to the kind of construction-barrier context which it already alluded to. Versions of Kippenberger's iconic ''Streetlamp for Drunks'' series of sculptures are shown alongside what may have been their inspiration: a tilting lamppost. And the semi-derelict gas station in Salvador, Brazil that the artist 'purchased'<ref>Apparently, the story that Kippenberger bought the station and had a telephone line installed and staffed, with the instruction that any incoming calls should be answered "Martin Bormann Gas Station", is a myth of the artist's own making. See: Eva Meyer-Hermann, "Martin Bormann Gas Station", in ''Nach Kippenberger'', 99. The artist's 'claim' on the station is nevertheless documented in a memorable series of images taken by his photography assistant on their 1986 Brazil trip, Ursula Böckler.</ref> and rechristened ''Martin Bormann Gas Station'' is also represented.

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	Canadian artist Derek Sullivan, who works frequently with artists' books, has created his own tribute to ''Psychobuildings'' in his 2008 edition ''Persistent Huts''. Something of a dual tribute to Kippenberger and another artist celebrated for his books, Ed Rusha, ''Persistent Huts'' is in the same foldout accordion format of Ruscha’s ''Every Building on the Sunset Strip''; inside are a series of photos of rudimentary stacked structures that the artist has created from multiple copies of Kippenberger's ''Psychobuildings'' book.<ref>Derek Sullivan, [https://www.printedmatter.org/catalog/24399/ ''Persistant Huts''], artist's book, 2008. Unpaginated, 18 x 14 cm, paperback, accordion, offset printed, black-and-white, edition of 26, published by Printed Matter Inc., New York.</ref>		Canadian artist Derek Sullivan, who works frequently with artists' books, has created his own tribute to ''Psychobuildings'' in his 2008 edition ''Persistent Huts''. Something of a dual tribute to Kippenberger and another artist celebrated for his books, Ed Rusha, ''Persistent Huts'' is in the same foldout accordion format of Ruscha’s ''Every Building on the Sunset Strip''; inside are a series of photos of rudimentary stacked structures that the artist has created from multiple copies of Kippenberger's ''Psychobuildings'' book.<ref>Derek Sullivan, [https://www.printedmatter.org/catalog/24399/ ''Persistant Huts''], artist's book, 2008. Unpaginated, 18 x 14 cm, paperback, accordion, offset printed, black-and-white, edition of 26, published by Printed Matter Inc., New York.</ref>


	==References==		==References==
	{{Refs2}}		{{Refs2}}

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Psychobuildings as a Photo Work

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	A large group of the original images were subsequently sold by Anton Kern in 1999, entering the photography collection of the Swiss firm Zellweger Luwa AG, and have since been exhibited as a constellation of eighty-five unique individually framed prints, including as part of the Kippenberger retrospective at the Los Angeles Museum of Contemporary Art, and MoMA, New York, in 2008.<ref>See: Kunstmuseum Bonn, Kunstmuseum St. Gallen, eds., ''Through the looking brain: a Swiss collection of conceptual photography'', (Ostfildern, Germany: Hatje Cantz Verlag, 2011).</ref>		A large group of the original images were subsequently sold by Anton Kern in 1999, entering the photography collection of the Swiss firm Zellweger Luwa AG, and have since been exhibited as a constellation of eighty-five unique individually framed prints, including as part of the Kippenberger retrospective at the Los Angeles Museum of Contemporary Art, and MoMA, New York, in 2008.<ref>See: Kunstmuseum Bonn, Kunstmuseum St. Gallen, eds., ''Through the looking brain: a Swiss collection of conceptual photography'', (Ostfildern, Germany: Hatje Cantz Verlag, 2011).</ref>

	The eighty-five image selection largely incorporates the more architectural photographs in the book, leaving out most of the images of the artist's sculpture~~, as well as~~ the more anarchic images of ~~the artist~~'s travels in Brazil and Spain. Martin Hermes has noted that this photo work iteration of ''Psychobuildings'' is an exception in Kippenberger's oeuvre, photographs more typically being used by the artist as material for collages and posters.<ref>Manfred Hermes, "Psychobuildings", in ''Nach Kippenberger'', 123.</ref> Indeed, it is unclear whether the work was ever intended to exist in this form by the artist, never having been shown as a photographic work during Kippenberger's lifetime.<ref>The degree to which the reformatting of the work still causes confusion is perhaps reflected in the incorrect cataloging of ''Psychobuildings'' in the ''Problem Perspective'' catalogue as "approximately 120 black and white photographs, 21 x 29.7 cm, Collection of Zellweger Luwa AG, Usler <nowiki>[sic]</nowiki>, Switzerland", which succeeds in getting everything wrong, describing neither the book nor the photo work.</ref>		The eighty-five image selection largely incorporates the more architectural photographs in the book, leaving out most of the images of the artist's sculpture and the more anarchic images of Kippenberger's travels in Brazil and Spain. Martin Hermes has noted that this photo work iteration of ''Psychobuildings'' is an exception in Kippenberger's oeuvre, photographs more typically being used by the artist as material for collages and posters.<ref>Manfred Hermes, "Psychobuildings", in ''Nach Kippenberger'', 123.</ref> Indeed, it is unclear whether the work was ever intended to exist in this form by the artist, never having been shown as a photographic work during Kippenberger's lifetime.<ref>The degree to which the reformatting of the work still causes confusion is perhaps reflected in the incorrect cataloging of ''Psychobuildings'' in the ''Problem Perspective'' catalogue as "approximately 120 black and white photographs, 21 x 29.7 cm, Collection of Zellweger Luwa AG, Usler <nowiki>[sic]</nowiki>, Switzerland", which succeeds in getting everything wrong, describing neither the book nor the photo work.</ref>

	The photo work was subsequently sold by Zellweger Luwa AG (along with a number of other contemporary photo works from their collection), at Christies, London in 2013, achieving a sale price of GBP 110,500, slightly below its estimate.<ref>[https://www.christies.com/lotfinder/Lot/martin-kippenberger-1953-1997-psychobuildings-5727195-details.aspx Sale 1150, Post-War and Contemporary Art Evening Auction, Christies London, 18 October 2013], retrieved May 14, 2019.</ref> The work continues to be shown in this eighty-five image form, including as part of the exhibition ''Blind Architecture'', curated by Douglas Fogle, at Thomas Dane Gallery, London, in 2015-16.<ref>[https://www.thomasdanegallery.com/exhibitions/122/ ''Blind Architecture''] curated by Douglas Fogle, Thomas Dane Gallery, London, 20 Nov 2015 - 23 Jan 2016, retrieved May 14, 2019.</ref>		The photo work was subsequently sold by Zellweger Luwa AG (along with a number of other contemporary photo works from their collection), at Christies, London in 2013, achieving a sale price of GBP 110,500, slightly below its estimate.<ref>[https://www.christies.com/lotfinder/Lot/martin-kippenberger-1953-1997-psychobuildings-5727195-details.aspx Sale 1150, Post-War and Contemporary Art Evening Auction, Christies London, 18 October 2013], retrieved May 14, 2019.</ref> The work continues to be shown in this eighty-five image form, including as part of the exhibition ''Blind Architecture'', curated by Douglas Fogle, at Thomas Dane Gallery, London, in 2015-16.<ref>[https://www.thomasdanegallery.com/exhibitions/122/ ''Blind Architecture''] curated by Douglas Fogle, Thomas Dane Gallery, London, 20 Nov 2015 - 23 Jan 2016, retrieved May 14, 2019.</ref>

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	==Description==		==Description==

	====Contents====		===Contents===

	''Psychobuildings'' amounts to an architectural travelogue of sorts, most of the photographs in the book having been taken during the artist's extended stays in Brazil in 1986, and Spain in 1988.<ref>Manfred Hermes, "Psychobuildings", in Eva Meyer-Hermann and Susanne Neuberger, eds., ''Nach Kippenberger = After Kippenberger'' (Vienna: Schlebrügge.Editor, 2003), 123</ref>		''Psychobuildings'' amounts to an architectural travelogue of sorts, most of the photographs in the book having been taken during the artist's extended stays in Brazil in 1986, and Spain in 1988.<ref>Manfred Hermes, "Psychobuildings", in Eva Meyer-Hermann and Susanne Neuberger, eds., ''Nach Kippenberger = After Kippenberger'' (Vienna: Schlebrügge.Editor, 2003), 123</ref>
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	Further disruptions to any straight-forward sense of thematic unity appear throughout the book in the form of a photographs of a distended belly in a hotel room, the artist posing semi-naked on the roof of a car, and, in the final photograph, reproduced inside the back cover, a trio of ‘African’ head sculptures, one wearing a pair of eyeglasses.		Further disruptions to any straight-forward sense of thematic unity appear throughout the book in the form of a photographs of a distended belly in a hotel room, the artist posing semi-naked on the roof of a car, and, in the final photograph, reproduced inside the back cover, a trio of ‘African’ head sculptures, one wearing a pair of eyeglasses.

	====Design====		===Design===

	The book's cover references the design of German philosophy publisher Merve Verlag, who were known in the 1980's for being first to publish German translations of some of the leading post-structuralist writers of the time.<ref>Merve had published an earlier artists' book by Kippenberger, ''Frauen'', in 1980, and Uwe Koch, writing in the catalogue raissonné of Kippenberger's books, notes that ''Psychobuildings'' was also meant to have been published by Merve, but that “the project was abandoned due to a misunderstanding”. See Uwe Koch, ed., ''Annotated catalogue raisonné of the books by Martin Kippenberger, 1977-1997'' (New York: D.A.P., 2003), 166-167. Like ''Psychobuildings'', ''Frauen'' presented a series of uncaptioned black and white images: of women—strangers, girlfriends, family and colleagues, "...and our mother, too, laughing in Martin's arms," the artist's sister Suzanne wrote in her biography of Kippenberger. See: Susanne Kippenberger, ''Kippenberger : the artist and his families'', trans. Damion Searls (United States: J&L Books, 2013), 184.</ref> Kippenberger's cover reverses the iconic right-leaning color parallelogram of the Merve books, replacing it with a left-leaning one. The rest of the design, including fonts and colors, is intended to underline the reference to Merve, which Manfred Hermes has noted was a joke and a provocation, given the anti-theoretical intent of ''Psychobuildings''.<ref>"By positioning his simple photographs within the context of the post-structuralist short essays that Merve was primarily publishing at the time, he was making another comment: robustly countering the fetishistic and authority fixated elements of theory by presenting the possibilities of the visual and, one might say, the need for emotionally founded communication." See: Manfred Hermes, "Psychobuildings", in ''Nach Kippenberger'', 123. </ref>		The book's cover references the design of German philosophy publisher Merve Verlag, who were known in the 1980's for being first to publish German translations of some of the leading post-structuralist writers of the time.<ref>Merve had published an earlier artists' book by Kippenberger, ''Frauen'', in 1980, and Uwe Koch, writing in the catalogue raissonné of Kippenberger's books, notes that ''Psychobuildings'' was also meant to have been published by Merve, but that “the project was abandoned due to a misunderstanding”. See Uwe Koch, ed., ''Annotated catalogue raisonné of the books by Martin Kippenberger, 1977-1997'' (New York: D.A.P., 2003), 166-167. Like ''Psychobuildings'', ''Frauen'' presented a series of uncaptioned black and white images: of women—strangers, girlfriends, family and colleagues, "...and our mother, too, laughing in Martin's arms," the artist's sister Suzanne wrote in her biography of Kippenberger. See: Susanne Kippenberger, ''Kippenberger : the artist and his families'', trans. Damion Searls (United States: J&L Books, 2013), 184.</ref> Kippenberger's cover reverses the iconic right-leaning color parallelogram of the Merve books, replacing it with a left-leaning one. The rest of the design, including fonts and colors, is intended to underline the reference to Merve, which Manfred Hermes has noted was a joke and a provocation, given the anti-theoretical intent of ''Psychobuildings''.<ref>"By positioning his simple photographs within the context of the post-structuralist short essays that Merve was primarily publishing at the time, he was making another comment: robustly countering the fetishistic and authority fixated elements of theory by presenting the possibilities of the visual and, one might say, the need for emotionally founded communication." See: Manfred Hermes, "Psychobuildings", in ''Nach Kippenberger'', 123. </ref>

	====Background====		===Background===

	Most of the photographs in the book were taken by Kippenberger during travels in Brazil in 1986, and Spain in 1988, where he had taken up residence alongside fellow artist Albert Oehlen. Suzanne Kippenberger has noted that the house that her brother and Oehlen shared on the outskirts of Carmona was surrounded by rubbish dumps, and on their walks into the town to eat and make phonecalls, Kippenberger was impressed by the shabbiness of the surroundings, and the locals' willingness to just throw away things at the side of the road.<ref>Susanne Kippenberger, ''Kippenberger : the artist and his families'', 343-344.</ref>		Most of the photographs in the book were taken by Kippenberger during travels in Brazil in 1986, and Spain in 1988, where he had taken up residence alongside fellow artist Albert Oehlen. Suzanne Kippenberger has noted that the house that her brother and Oehlen shared on the outskirts of Carmona was surrounded by rubbish dumps, and on their walks into the town to eat and make phonecalls, Kippenberger was impressed by the shabbiness of the surroundings, and the locals' willingness to just throw away things at the side of the road.<ref>Susanne Kippenberger, ''Kippenberger : the artist and his families'', 343-344.</ref>
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	==Links to Kippenberger’s Other Work==		==Links to Kippenberger’s Other Work==

	====Peter Sculpture====		===Peter Sculpture===

	Ann Goldstein has written on Psychobuildings' relationship to the artists' "Peter" body of sculpture, which had been conceived with, and built by, Kippenberger's assistant Michael Krebber between 1986 and 1987.<ref>Ann Goldstein, “The Problem Perspective”, in ''Martin Kippenberger : the problem perspective'', 85-87.</ref>		Ann Goldstein has written on Psychobuildings' relationship to the artists' "Peter" body of sculpture, which had been conceived with, and built by, Kippenberger's assistant Michael Krebber between 1986 and 1987.<ref>Ann Goldstein, “The Problem Perspective”, in ''Martin Kippenberger : the problem perspective'', 85-87.</ref>
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	Several of the ''Peter'' sculptures are reproduced in ''Psychobuildings'', including ''Fernfahrersitz'' (a work incorporating a portable toilet), ''Barbie-Tisch'' (an enlarged and modified model of a plastic Barbie toy bath), and ''Hinten ist noch ein Loch frei'' (a modified metal cabinet mounted with an image of one of the artist's ''Painter Paint for Me'' works). Ann Goldstein has proposed that the architectural images in the book can be thought of as an "inventory and point of reference" for the artist's ongoing sculptural work, the side-by-side images of psychobuildings and ''Peter'' sculptures linked in their shared manifestation of "ideas of utopia, function, dysfunction, and failure."<ref>Ann Goldstein, “The Problem Perspective”, in ''Martin Kippenberger : the problem perspective'', 85-87.</ref>		Several of the ''Peter'' sculptures are reproduced in ''Psychobuildings'', including ''Fernfahrersitz'' (a work incorporating a portable toilet), ''Barbie-Tisch'' (an enlarged and modified model of a plastic Barbie toy bath), and ''Hinten ist noch ein Loch frei'' (a modified metal cabinet mounted with an image of one of the artist's ''Painter Paint for Me'' works). Ann Goldstein has proposed that the architectural images in the book can be thought of as an "inventory and point of reference" for the artist's ongoing sculptural work, the side-by-side images of psychobuildings and ''Peter'' sculptures linked in their shared manifestation of "ideas of utopia, function, dysfunction, and failure."<ref>Ann Goldstein, “The Problem Perspective”, in ''Martin Kippenberger : the problem perspective'', 85-87.</ref>

	====Other Work====		===Other Work===

	Additional sculptural works appear in the book, including the thinly supported triangular wedge of ''Ramp'', and ''Chicken Disco'' (photographed on a scrubby patch of ground that may well have been home to said chickens). These pieces were developed by the artist while in residence in Spain in 1988, so can be considered contemporary with much of the photographic work in ''Psychobuildings''.<ref>Susanne Kippenberger, ''Kippenberger : the artist and his families'', 343-344.</ref>		Additional sculptural works appear in the book, including the thinly supported triangular wedge of ''Ramp'', and ''Chicken Disco'' (photographed on a scrubby patch of ground that may well have been home to said chickens). These pieces were developed by the artist while in residence in Spain in 1988, so can be considered contemporary with much of the photographic work in ''Psychobuildings''.<ref>Susanne Kippenberger, ''Kippenberger : the artist and his families'', 343-344.</ref>

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	''Psychobuildings'' is a 1988 artists’ book by German artist Martin Kippenberger, published in an edition of 1,000 by Walther König, Cologne.		[[File:Psychobuildings-front-cover.jpg\|240px\|thumb\|right\|Martin Kippenberger, ''Psychobuildings'', 1988. © 2019 Estate Martin Kippenberger, Galerie Gisela Capitain, Cologne]]''Psychobuildings'' is a 1988 artists’ book by German artist Martin Kippenberger, published in an edition of 1,000 by Walther König, Cologne.

	The book consists of 114 black and white photographs of buildings, architectural details, public sculpture, street furniture, ad-hoc arrangements of objects, and the artist's own sculptural work—all reproduced without any textual accompaniment. Each of the postcard-sized images takes up one page of the book, including the inside front and back covers.<ref>Martin Kippenberger, ''Psychobuildings'', (Cologne: Verlag der Buchhandlung Walther König, 1988).</ref>		The book consists of 114 black and white photographs of buildings, architectural details, public sculpture, street furniture, ad-hoc arrangements of objects, and the artist's own sculptural work—all reproduced without any textual accompaniment. Each of the postcard-sized images takes up one page of the book, including the inside front and back covers.<ref>Martin Kippenberger, ''Psychobuildings'', (Cologne: Verlag der Buchhandlung Walther König, 1988).</ref>

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	Most of the photographs in the book were taken by Kippenberger during travels in Brazil in 1986, and Spain in 1988, where he had taken up residence alongside fellow artist Albert Oehlen. Suzanne Kippenberger has noted that the house that her brother and Oehlen shared on the outskirts of Carmona was surrounded by rubbish dumps, and on their walks into the town to eat and make phonecalls, Kippenberger was impressed by the shabbiness of the surroundings, and the locals' willingness to just throw away things at the side of the road.<ref>Susanne Kippenberger, ''Kippenberger : the artist and his families'', 343-344.</ref>		Most of the photographs in the book were taken by Kippenberger during travels in Brazil in 1986, and Spain in 1988, where he had taken up residence alongside fellow artist Albert Oehlen. Suzanne Kippenberger has noted that the house that her brother and Oehlen shared on the outskirts of Carmona was surrounded by rubbish dumps, and on their walks into the town to eat and make phonecalls, Kippenberger was impressed by the shabbiness of the surroundings, and the locals' willingness to just throw away things at the side of the road.<ref>Susanne Kippenberger, ''Kippenberger : the artist and his families'', 343-344.</ref>

	==Critical ~~interpretations~~==		==Critical Interpretations==

	The book has been related to Kippenberger's interest in dysfunction and failure, which he had been exploring in multiple media throughout his ten-year career up until 1988.		The book has been related to Kippenberger's interest in dysfunction and failure, which he had been exploring in multiple media throughout his ten-year career up until 1988.
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	Manfred Hermes has commented on Kippenberger's use of photography in the book, and compared it to that of the contemporaneous 'Düsseldorf school' of artists, in which architecture often "played a role as form, material and metaphor for social conditions, utopian visions or power." The mutually reinforcing "auratization" between architecture and photography in the work of Andreas Gursky, Candida Höfer, or Thomas Ruff, was something Kippenberger found ridiculous, and the amateur nature of the snapshots in ''Psychobuildings'', in tandem with their ramshackle subjects, can be read as a conscious "rebuttal" of the pomposity of the work of his fellow countrymen.<ref>Manfred Hermes, "Psychobuildings", in ''Nach Kippenberger,'' 123.</ref>		Manfred Hermes has commented on Kippenberger's use of photography in the book, and compared it to that of the contemporaneous 'Düsseldorf school' of artists, in which architecture often "played a role as form, material and metaphor for social conditions, utopian visions or power." The mutually reinforcing "auratization" between architecture and photography in the work of Andreas Gursky, Candida Höfer, or Thomas Ruff, was something Kippenberger found ridiculous, and the amateur nature of the snapshots in ''Psychobuildings'', in tandem with their ramshackle subjects, can be read as a conscious "rebuttal" of the pomposity of the work of his fellow countrymen.<ref>Manfred Hermes, "Psychobuildings", in ''Nach Kippenberger,'' 123.</ref>

	==Links to Kippenberger’s ~~other work~~==		==Links to Kippenberger’s Other Work==

	====Peter ~~sculptures~~====		====Peter Sculpture====

	Ann Goldstein has written on Psychobuildings' relationship to the artists' "Peter" body of sculpture, which had been conceived with, and built by, Kippenberger's assistant Michael Krebber between 1986 and 1987.<ref>Ann Goldstein, “The Problem Perspective”, in ''Martin Kippenberger : the problem perspective'', 85-87.</ref>		Ann Goldstein has written on Psychobuildings' relationship to the artists' "Peter" body of sculpture, which had been conceived with, and built by, Kippenberger's assistant Michael Krebber between 1986 and 1987.<ref>Ann Goldstein, “The Problem Perspective”, in ''Martin Kippenberger : the problem perspective'', 85-87.</ref>
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	Several of the ''Peter'' sculptures are reproduced in ''Psychobuildings'', including ''Fernfahrersitz'' (a work incorporating a portable toilet), ''Barbie-Tisch'' (an enlarged and modified model of a plastic Barbie toy bath), and ''Hinten ist noch ein Loch frei'' (a modified metal cabinet mounted with an image of one of the artist's ''Painter Paint for Me'' works). Ann Goldstein has proposed that the architectural images in the book can be thought of as an "inventory and point of reference" for the artist's ongoing sculptural work, the side-by-side images of psychobuildings and ''Peter'' sculptures linked in their shared manifestation of "ideas of utopia, function, dysfunction, and failure."<ref>Ann Goldstein, “The Problem Perspective”, in ''Martin Kippenberger : the problem perspective'', 85-87.</ref>		Several of the ''Peter'' sculptures are reproduced in ''Psychobuildings'', including ''Fernfahrersitz'' (a work incorporating a portable toilet), ''Barbie-Tisch'' (an enlarged and modified model of a plastic Barbie toy bath), and ''Hinten ist noch ein Loch frei'' (a modified metal cabinet mounted with an image of one of the artist's ''Painter Paint for Me'' works). Ann Goldstein has proposed that the architectural images in the book can be thought of as an "inventory and point of reference" for the artist's ongoing sculptural work, the side-by-side images of psychobuildings and ''Peter'' sculptures linked in their shared manifestation of "ideas of utopia, function, dysfunction, and failure."<ref>Ann Goldstein, “The Problem Perspective”, in ''Martin Kippenberger : the problem perspective'', 85-87.</ref>

	====Other ~~works~~====		====Other Work====

	Additional sculptural works appear in the book, including the thinly supported triangular wedge of ''Ramp'', and ''Chicken Disco'' (photographed on a scrubby patch of ground that may well have been home to said chickens). These pieces were developed by the artist while in residence in Spain in 1988, so can be considered contemporary with much of the photographic work in ''Psychobuildings''.<ref>Susanne Kippenberger, ''Kippenberger : the artist and his families'', 343-344.</ref>		Additional sculptural works appear in the book, including the thinly supported triangular wedge of ''Ramp'', and ''Chicken Disco'' (photographed on a scrubby patch of ground that may well have been home to said chickens). These pieces were developed by the artist while in residence in Spain in 1988, so can be considered contemporary with much of the photographic work in ''Psychobuildings''.<ref>Susanne Kippenberger, ''Kippenberger : the artist and his families'', 343-344.</ref>
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	The photo work was subsequently sold by Zellweger Luwa AG (along with a number of other contemporary photo works from their collection), at Christies, London in 2013, achieving a sale price of GBP 110,500, slightly below its estimate.<ref>[https://www.christies.com/lotfinder/Lot/martin-kippenberger-1953-1997-psychobuildings-5727195-details.aspx Sale 1150, Post-War and Contemporary Art Evening Auction, Christies London, 18 October 2013], retrieved May 14, 2019.</ref> The work continues to be shown in this eighty-five image form, including as part of the exhibition ''Blind Architecture'', curated by Douglas Fogle, at Thomas Dane Gallery, London, in 2015-16.<ref>[https://www.thomasdanegallery.com/exhibitions/122/ Blind Architecture] curated by Douglas Fogle, Thomas Dane Gallery, London, 20 Nov 2015 - 23 Jan 2016, retrieved May 14, 2019.</ref>		The photo work was subsequently sold by Zellweger Luwa AG (along with a number of other contemporary photo works from their collection), at Christies, London in 2013, achieving a sale price of GBP 110,500, slightly below its estimate.<ref>[https://www.christies.com/lotfinder/Lot/martin-kippenberger-1953-1997-psychobuildings-5727195-details.aspx Sale 1150, Post-War and Contemporary Art Evening Auction, Christies London, 18 October 2013], retrieved May 14, 2019.</ref> The work continues to be shown in this eighty-five image form, including as part of the exhibition ''Blind Architecture'', curated by Douglas Fogle, at Thomas Dane Gallery, London, in 2015-16.<ref>[https://www.thomasdanegallery.com/exhibitions/122/ Blind Architecture] curated by Douglas Fogle, Thomas Dane Gallery, London, 20 Nov 2015 - 23 Jan 2016, retrieved May 14, 2019.</ref>

	==Influence / ~~afterlife~~==		==Influence / Afterlife==

	Kippenberger's book provided the title and acted as something of a talisman for the exhibition ''Psycho Buildings: Artists Take on Architecture'', curated by Ralph Rugoff, at the Hayward Gallery, London in 2008. Conceived as part of events marking the 40th Anniversary of the Hayward's celebrated Brutalist building, the exhibition featured ten international artists and artist groups "working against the grain of established architectural practices, <nowiki>[to create]</nowiki> architecturally-inflected installations that invite us to consider how built spaces function as social, psychological and perceptual environments.”<ref>Ralph Rugoff, "Preface", in ''Psycho buildings: artists take on architecture'', published on the occasion of the exhibition held at The Hayward, London, 28 May - 25 August, 2008 (London: Hayward Publishing, 2008), 11.</ref> The exhibition included installations by Atelier Bow-Wow, Los Carpinteros, Mike Nelson, Ernesto Neto and Rachel Whiteread, amongst others. The Austrian artists' collective Gelitin flooded one of the Hayward building's flat roofs to create a precipitous boating lake for their installation ''normally, proceeding and unrestricted with without title'', 2008; while Korean artist Do Ho Suh's ''Fallen Star 1/5'', 2008 consisted of a 1:5 scale model of the artist’s childhood home crash-landed into the New England apartment where he lived as an art student.		Kippenberger's book provided the title and acted as something of a talisman for the exhibition ''Psycho Buildings: Artists Take on Architecture'', curated by Ralph Rugoff, at the Hayward Gallery, London in 2008. Conceived as part of events marking the 40th Anniversary of the Hayward's celebrated Brutalist building, the exhibition featured ten international artists and artist groups "working against the grain of established architectural practices, <nowiki>[to create]</nowiki> architecturally-inflected installations that invite us to consider how built spaces function as social, psychological and perceptual environments.”<ref>Ralph Rugoff, "Preface", in ''Psycho buildings: artists take on architecture'', published on the occasion of the exhibition held at The Hayward, London, 28 May - 25 August, 2008 (London: Hayward Publishing, 2008), 11.</ref> The exhibition included installations by Atelier Bow-Wow, Los Carpinteros, Mike Nelson, Ernesto Neto and Rachel Whiteread, amongst others. The Austrian artists' collective Gelitin flooded one of the Hayward building's flat roofs to create a precipitous boating lake for their installation ''normally, proceeding and unrestricted with without title'', 2008; while Korean artist Do Ho Suh's ''Fallen Star 1/5'', 2008 consisted of a 1:5 scale model of the artist’s childhood home crash-landed into the New England apartment where he lived as an art student.

	Canadian artist Derek Sullivan, who works frequently with artists' books, has created his own tribute to ''Psychobuildings'' in his 2008 edition ''Persistent Huts''. Something of a dual tribute to Kippenberger and another artist celebrated for his books, Ed Rusha, ''Persistent Huts'' is in the same foldout accordion format of Ruscha’s ''Every Building on the Sunset Strip''; inside are a series of photos of rudimentary stacked structures that the artist has created from multiple copies of Kippenberger's ''Psychobuildings'' book.<ref>Derek Sullivan, [https://www.printedmatter.org/catalog/24399/ Persistant Huts], artists' book, 2008. Unpaginated, 18 x 14 cm, paperback, accordion, offset printed, black-and-white, edition of 26, published by Printed Matter Inc., New York.</ref>		Canadian artist Derek Sullivan, who works frequently with artists' books, has created his own tribute to ''Psychobuildings'' in his 2008 edition ''Persistent Huts''. Something of a dual tribute to Kippenberger and another artist celebrated for his books, Ed Rusha, ''Persistent Huts'' is in the same foldout accordion format of Ruscha’s ''Every Building on the Sunset Strip''; inside are a series of photos of rudimentary stacked structures that the artist has created from multiple copies of Kippenberger's ''Psychobuildings'' book.<ref>Derek Sullivan, [https://www.printedmatter.org/catalog/24399/ Persistant Huts], artists' book, 2008. Unpaginated, 18 x 14 cm, paperback, accordion, offset printed, black-and-white, edition of 26, published by Printed Matter Inc., New York.</ref>


	==References==		==References==
	{{Refs2}}		{{Refs2}}

ThisTenement: /* Influence / afterlife */

2019-05-16T03:46:50Z

Influence / afterlife

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	==Influence / afterlife==		==Influence / afterlife==

	Kippenberger's book provided the title and acted as something of a talisman for the exhibition Psycho Buildings: Artists Take on Architecture, curated by Ralph Rugoff, at the Hayward Gallery, London in 2008. Conceived as part of events marking the 40th Anniversary of the Hayward's celebrated Brutalist building, the exhibition featured ten international artists and artist groups "working against the grain of established architectural practices, [to create] architecturally-inflected installations that invite us to consider how built spaces function as social, psychological and perceptual environments.”~~[30]~~ The exhibition included installations by Atelier Bow-Wow, Los Carpinteros, Mike Nelson, Ernesto Neto and Rachel Whiteread, amongst others. The Austrian artists' collective Gelitin flooded one of the Hayward building's flat roofs to create a precipitous boating lake for their installation 'normally, proceeding and unrestricted with without title', 2008; while Korean artist Do Ho Suh's 'Fallen Star 1/5', 2008 consisted of a 1:5 scale model of the artist’s childhood home crash-landed into the New England apartment where he lived as an art student.		Kippenberger's book provided the title and acted as something of a talisman for the exhibition ''Psycho Buildings: Artists Take on Architecture'', curated by Ralph Rugoff, at the Hayward Gallery, London in 2008. Conceived as part of events marking the 40th Anniversary of the Hayward's celebrated Brutalist building, the exhibition featured ten international artists and artist groups "working against the grain of established architectural practices, <nowiki>[to create]</nowiki> architecturally-inflected installations that invite us to consider how built spaces function as social, psychological and perceptual environments.”<ref>Ralph Rugoff, "Preface", in ''Psycho buildings: artists take on architecture'', published on the occasion of the exhibition held at The Hayward, London, 28 May - 25 August, 2008 (London: Hayward Publishing, 2008), 11.</ref> The exhibition included installations by Atelier Bow-Wow, Los Carpinteros, Mike Nelson, Ernesto Neto and Rachel Whiteread, amongst others. The Austrian artists' collective Gelitin flooded one of the Hayward building's flat roofs to create a precipitous boating lake for their installation ''normally, proceeding and unrestricted with without title'', 2008; while Korean artist Do Ho Suh's ''Fallen Star 1/5'', 2008 consisted of a 1:5 scale model of the artist’s childhood home crash-landed into the New England apartment where he lived as an art student.

	Canadian artist Derek Sullivan, who works frequently with artists' books, has created his own tribute to Psychobuildings in his 2008 edition Persistent Huts. Something of a dual tribute to Kippenberger and another artist celebrated for his books, Ed Rusha, Persistent Huts is in the same foldout accordion format of Ruscha’s Every Building on the Sunset Strip; inside are a series of photos of rudimentary stacked structures that the artist has created from multiple copies of Kippenberger's Psychobuildings book.[31]

			Canadian artist Derek Sullivan, who works frequently with artists' books, has created his own tribute to ''Psychobuildings'' in his 2008 edition ''Persistent Huts''. Something of a dual tribute to Kippenberger and another artist celebrated for his books, Ed Rusha, ''Persistent Huts'' is in the same foldout accordion format of Ruscha’s ''Every Building on the Sunset Strip''; inside are a series of photos of rudimentary stacked structures that the artist has created from multiple copies of Kippenberger's ''Psychobuildings'' book.<ref>Derek Sullivan, [https://www.printedmatter.org/catalog/24399/ Persistant Huts], artists' book, 2008. Unpaginated, 18 x 14 cm, paperback, accordion, offset printed, black-and-white, edition of 26, published by Printed Matter Inc., New York.</ref>

	==References==		==References==
	{{Refs2}}		{{Refs2}}

ThisTenement at 03:40, 16 May 2019

2019-05-16T03:40:08Z

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