Katharina FritschGermania, 1956Monk (Mönch)
Sulla scultura
Katharina Fritsch roots her work in the personal, often drawing from childhood memories of familiar circumstances or chance encounters. At the same time, her references engage broad aspects of German folklore and culture through meticulous reproductions of quotidian objects, many of which she formally manipulates with shifts in scale and color. Her process is intensely time-consuming: molded by hand, each object is cast in plaster, reworked, and cast again, often in polyester or aluminum. The completed forms are then painted with highly saturated, matte, nonreflective colors that create a sense of otherworldliness. In Monk the artist took up the lone, brooding figure of a friar to encapsulate her fascination with Christian traditions and rituals and the mysterious medieval towns, such as Nuremberg and Bamberg, that she frequented in her youth.
Art Institute of ChicagoCC BY 4.0
Scheda
- Numero di inventario
- 2000.49
![Gelek Rimpoche from Lhasa and Ann Arbor unwrapping Tibetan text & beginning to chant it, Tokden Rinpoche, handling brass Vajia (Diamond Lightning Bolt) and Ghanta (Bell) Sonam, former chanting. master of Gyuto Tantric College idling behind them at picnic table outside lodge shrine-room after lunch, "just fooling around rather than having a ceremony." Sonam came in from Chicago, Tokden from Eastern Tibet to give oral Transmissions of one-volume short-form _Prajnaparamita_ [Highest perfect wisdom] _Sutra_ to Gelek's hundred students. "Gate Gate Para Gate Parasamgate Bodhi Svaha!" Over annual summer retreat, Yankee Springs State Park, Michigan, August 27, 1993., Allen Ginsberg, 1993, printed 1995](https://api.nga.gov/iiif/b1ae88f0-bb0c-4b98-bd7f-3d50148b518e/full/!2400,2400/0/default.jpg)
