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Matyssek, Angela and Nowel Camino, Franciska (Eds.): Wann fängt Kunst an? Das variable Frühwerk in der Gegenwartskunst, Heidelberg: arthistoricum.net, 2025. https://doi.org/10.11588/arthistoricum.1626

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Identifiers

https://doi.org/10.11588/arthistoricum.1626
ISBN 978-3-98501-367-8 (PDF)

Published

09/24/2025
The printed publication was published in 2025 by edition metzel. ISBN: 978-3-88960-243-5

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Authors

Angela Matyssek (Ed.), Franciska Nowel Camino (Ed.)

Wann fängt Kunst an?

Das variable Frühwerk in der Gegenwartskunst

The term "early work" refers to a group of artworks that mark the beginning of an artistic œuvre. The central claim of this anthology is that such early works represent a variable and retrospective construct: early works only become a field of interest for artists, curators, and art historians once a main body of work—and thus artistic significance—has been established, prompting the search for development and continuity. The question of what constitutes an early work and the various practices in dealing with early creations are the core of the texts.

Angela Matyssek is a professor of art history specialized in modern and contemporary art at the Dresden Academy of Fine Arts. Her research focuses on practices related to the transmission and preservation of art, such as reproduction, documentation, archiving, preparation, conservation, and restoration. Most recently, she co-edited the anthology Patina: Traces of the Past in Contemporary Art (2023) together with Irene Glanzer.

Franciska Nowel Camino is an art historian and research associate at the Dresden Academy of Fine Arts. Her research interests include transcultural art history of the 20th and 21st centuries, materialities, reception forms of Latin American cultural traditions, discourses on archaeology, as well as concepts of temporality and time. She is currently working on her doctoral dissertation about the postcolonial reception of textile techniques from Andean regions in contemporary art.

Chapters

Table of Contents
Pages
PDF
Titelei
Inhalt
Angela Matyssek, Franciska Nowel Camino
Wann fängt Kunst an? Das variable Frühwerk in der Gegenwartskunst. Einleitung
7-26
Peter J. Schneemann
Vorgeschichten und Nacherzählungen
Die Bedeutung des Frühwerks für die Konstruktion des Œuvres
27-41
Antje Krause-Wahl
Vor dem Kanon
Zur Rolle des Frühwerks in den kunsthistorischen Revisionen der Postmoderne
42-56
Beatriz González
Beatriz González: The early work as a period between two early works
57-60
Dietmar Elger
Auf der Suche nach dem eigenen Werk. Gerhard Richters Verhältnis zu seinem Dresdner und Düsseldorfer Frühwerk
(1951–62)
61-74
Aya Soika
Aya Soika: Werkverzeichnisse und die Macht der Werksetzung
75-77
Wolfgang Ullrich
Der Account als Œuvre – und die ersten Postings als Frühwerk
Über Instagram-Accounts von Künstler*innen
79-88
Jörg Johnen
Das Frühwerk als Frage des Maßstabs
89-92
Ileana Parvu
Wiederholte Anfänge
Textilkunst und kollektive Aktionen bei Ana Lupaș
93-108
Wilhelm Mundt
Über das Frühwerk nachdenken
109-112
Barbara Wittmann
Late Early Works
Produktion im Konjunktiv (Kazimir Malevič, Rodney Graham)
113-130
Carsten Nicolai, Max Dax
Der Prozess, der Raum, die Lebendigkeit
131-140
Autor*innen
141-143
Bildnachweis
143

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