1952 · Germany
Helmut Dorner is seen as an established artist, who was born and brought up in Germany. Helmut Dorner was born in 1952. Artists Andreas Gursky and Thomas Ruff are of the same generation and same country as Helmut Dorner.
Galleries and Exhibitions
Helmut Dorner is represented and exhibited by several galleries around the world, in countries like Spain and Germany. The galleries exhibiting Helmut Dorner's work include Galería Heinrich Ehrhardt in Madrid, Galerie Vera Munro in Hamburg, and Galerie Bärbel Grässlin in Frankfurt. Helmut Dorner most recent exhibition recorded on Artland was at Galería Heinrich Ehrhardt in Madrid (05 November 2019 until 13 December 2019) with the exhibition Solo Exhibition. Helmut Dorner's only other recorded exhibition on Artland is Solo Exhibition , which took place at Galerie Bärbel Grässlin in Frankfurt, Germany (15 March 2019 - 26 April 2019).
Further Biographical Context for Helmut Dorner
Born in 1952, Helmut Dorner's creative work was largely influenced by the 1970s. Conceptualism is often perceived as a response to Minimalism, and the leading art movement of the 1970s, challenging the boundaries of art with its revolutionary features. The movements that ensued were all representative of a strong desire to evolve and strengthen the art world, in response to the tensions of the previous 1960s. Process art branched out from Conceptualism, including some of its most crucial aspects, but going further in creating mysterious and experimental artistic journeys, while Land Art brought creation to the outdoors, initiating early ideas of environmentalism. In Germany, Expressive figure painting was given another chance for the first time since the weakening of Abstract Expressionism almost two decades, the genre regained its distinction through the brushstrokes of Gerhard Richter, Anselm Kiefer and Georg Baselitz. The multicultural and refined position that New York city held in the 1960s remained just as influential in the 1970s. With multiple world renowned artists gravitating the galleries and downtown scene, the city once again strengthened its reputation as the artistic hub of the generation. The critically engaged Mono-Ha movement, comprised of Japanese and Korean artists, flourished in Tokyo in the 1970s. Discarding conventional ideas of representation, the artists favoured a depiction of the world through an engagement with materials and an exploration of their properties. The artworks would often consist of encounters between natural and industrial materials such as stone, glass, cotton, sponge, wood, oil and water, mostly unaltered intact.