Summer Semester 2012 – Peter Vogt
In cooperation with the LMU UniversityGallery changing exhibitions take place on the premises of the Center for Advanced Studies.
The exhibition on display until 31 July 2012 at the CAS showed starkly contrasting works from the oeuvre of Peter Vogt, beginning with his early graphic work and continuing through to photographic painting and classical still-life works.
Exhibition – Three Picture Series over 40 Years
- Picture Series: Graphic Works (1968-1976)
In this series, Peter Vogt attempts to trace the spatial characteristics of tones.
- Picture Series: Heads (1990-1992)
This series begins with portraits painted with pastel colors on an oil canvas. The continuation of the series consists of frontally painted bald heads which challenge the visual norms of the observer. These deindividualized heads, displayed without hair or hairstyles, direct the sight towards that which is of central importance, namely mimic and gesture.
- Picture Series: Flowers (1995-2001)
Peter Vogt returns again and again to the subject of flowers. Worthy of particular mention are his large-format representations of individual blossoms, which float through the images as if detached. The stalk of the flower, in contrast, is only gently hinted at. These works, essentially fragmentary, celebrate the "unfinished as an artistic statement" (Susanne Thesing: Peter Vogt Werkverzeichnis 1989-2001).
In a further variant of the flower motive, Peter Vogt combines two very different materials. Representations of flowers or individual blossoms are combined with dyed or printed fabrics such as felt and wallpaper. "Painted sensuality answers a kind of haptic stimulus" (Susanne Thesing: Peter Vogt Werkverzeichnis 1989-2001).
In other double pictures, he places a “painting with a flower motive opposite a photo with a vase motive. […]. In the case of the flowers, one cannot help but notice that they often have something wild, erupting, sometimes insistent about them, that they break through boundaries and present an entirely independent vitality. They stand for life, sensuality, beauty and at the same time – particularly in combination with the urn-like pot – for transience and decay: the morbidity of beauty.” (Uwe M. Schneede, Peter Vogt Werkverzeichnis 1989-2001).
Peter Vogt studied at the Academy of Fine Arts in Munich with Jean Deyrolle and Reimer Jochims. He lived and worked in Munich and in Pitigliano, Italy.
At the Vernissage on 19 April 2012 Dr. Susanne Thesing will give the introduction.