Rosemarie Trockel became famous in the 1980s with her knitted wool paintings. What the artist called her "knitting pictures" wasn't the result of turning a hobby into art, however: Trockel's wool artworks were rather machine-generated. By shifting the way traditionally feminine materials were used, she criticized traditional role models as well as the established hierarchy of art forms, which places painting above crafts.

Die Differenz aus Wildheit als Ideal und dem Mach- und Lebbaren ist das Agens der 1952 in Schwerte geborenen Künst­lerin Rosemarie Trockel. Auf der „Skulptur.Projekte Münster“ von 2007 etwa zeugte davon ihr semiakkurater Heckenriegel „Less Sauvage than Others (We­niger wild als andere)“, der zwar im Ganzen ordentlich getrimmt wirkte. Zu den Seiten hin schoss er jedoch in anarchischem Wildwuchs über die ihm von Gartennazis auferlegten Grenzen hinaus. Bei einer anderen Land-Art-Arbeit entsprang glucksend Wasser aus der Mitte eines Teichs – es war jedoch mitnichten ein Geysir, der sich da urwüchsig Bahn brach, sondern eine Gartenpumpe.

New York -- After two years of virtual-only fairs, the International Fine Print Dealers Association will return in-person this fall to the stunning I.M. Pei-designed River Pavilion at the Javits Center with the 29th edition of the preeminent fair for prints. The IFPDA Print Fair will present 76 new and returning exhibitors, an increase from 2019, selected from the rigorously vetted members of the IFPDA and impressive invitational exhibitors.

We live in the decaying ruins of the modern and colonial world-system. All around us we encounter the undead institutions that structure systemic inequality, border regimes, and subject forms. To make different futures possible, this undead world—which violently resists change in its refusal to die—must be laid to rest.