{"id":2123,"date":"2026-09-04T17:21:01","date_gmt":"2026-09-04T15:21:01","guid":{"rendered":"https:\/\/preview.museum-frieder-burda.de\/ausstellung\/duane-hanson-gregory-crewdson-unheimliche-wirklichkeiten\/"},"modified":"2026-09-04T18:19:27","modified_gmt":"2026-09-04T16:19:27","slug":"duane-hanson-gregory-crewdson-unheimliche-wirklichkeiten","status":"publish","type":"ausstellung","link":"https:\/\/www.museum-frieder-burda.de\/en\/ausstellung\/duane-hanson-gregory-crewdson-unheimliche-wirklichkeiten\/","title":{"rendered":"DUANE HANSON\/GREGORY CREWDSON. UNHEIMLICHE WIRKLICHKEITEN"},"content":{"rendered":"\n
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Duane Hanson (1925 -1996) is one of the most influential American sculptors of the 20th century committed to realism. His true-to-life and detailed human figures provide the perfect irritation in their realism. Despite all the seriousness behind the socially critical concern that led Hanson to create his protagonists, the figures have a high entertainment value, especially – and this is precisely what makes them so attractive – because of their sometimes grave appearance. With 25 works, the exhibition shows a representative cross-section of the American artist’s oeuvre, which comprises only 114 works in all. The figures are brought into dialogue with the large-format photographic works of the American photographic artist Gregory Crewdson, who knows how to tell of human abysses in a different and very subtle way. <\/p>\n\n\n\n

In the early 1950s, after completing his studies in sculpture at the Cranbrook Academy of Art in Bloomfield Hills, Michigan, Hanson initially oriented himself to the abstract art style valid at that time, but this was not to lead to a satisfactory result. In 1953 he turned his back on his home country to earn his living as an art teacher at American schools in Germany for almost a decade. During this time he discovered the materials polyester resin and fiberglass, which were decisive for his future work. In the years that followed, Hanson returned to the United States and perfected his artistic skills in the use of these materials to such an extent that the boundaries between reality and art figure seemed to become blurred. Whereby Hanson was never concerned with the mere illusionistic reproduction of reality, but rather chose this veristic mode of representation as the means of his substantive concern, i.e. the illustration of human life tragedies, which are emphatically condensed in his types. <\/p>\n\n\n\n

In the human figures of the early phase of his work in the late 1960s, Hanson reacted to the socio-political tensions and protest movements of the day. He created sculptures and ensembles that very directly addressed social misery, violence, or racism, and took a stand for the victims of this system, for people who never had the chance to successfully meet the demands of life. <\/p>\n\n\n\n

Under the influence of Pop Art, Hanson then turned his attention thematically to everyday American life, often changing in his observations to a critically satirical stance, but always guided by compassion. Housewives, construction workers, car salesmen or janitors, the people of the American middle and lower classes, in whose biographies the disappointments of the American dream have become engraved, are the models for his figures. Often with ironic amiability, he puts his characters and all their little inadequacies into perspective, such as the Tourists, in which all the clich\u00e9s of the typical Florida vacationers are bundled. <\/p>\n\n\n\n

His international breakthrough finally came in 1972 with his participation in documenta 5 in Kassel. Hanson’s figures became more lifelike, blending ever more naturally into their surroundings. Their gestures, facial features and postures told of the psychological and physical burdens of life. The artist concentrated on older people, whose physiognomies reveal the traces of existence, the consequences of loneliness, the problems of old age and their alienation. The isolation of this generation by society affected Hanson, a circumstance that has not lost any of its relevance. <\/p>\n\n\n\n

The claim to reproduce the figures as lifelike as possible was certainly not rooted in the intention to convince the viewer of their authenticity, but rather to make the authenticity of life move the viewer to empathy and compassion. Hanson’s humanism manifests itself in this concern. Human values and destinies form the center of his art, he transforms the reality of life into the realism of art and thus lets us sharpen our view for the future, our view of the world, our fellow men and also of our own life. <\/p>\n\n\n\n

Gregory Crewdson, Untitled (Merchants Row), 2003 GREGORY CREWDSON<\/p>\n\n\n\n

Gregory Crewdson ist einer der bekanntesten zeitgen\u00f6ssischen Fotografen. Dem 1962 in Brooklyn, New York, geborenen Fotok\u00fcnstler gelingt es wie kaum einem anderen, in seinen Werken Fiktion und Realit\u00e4t zu einem das Unterbewusstsein stimulierenden Surrogat zu vereinen. In seinem bisher wichtigsten Werkzyklus \u201eBeneath the Roses\u201c, der zwischen 2003 und 2007 entstanden ist, entwirft Crewdson in einer unvergleichlichen, beinahe barocken Dichte bedr\u00fcckende Szenarien menschlichen Daseins, die alle im morbiden, kleinst\u00e4dtischen Milieu Amerikas angesiedelt sind. 20 herausragende Fotoarbeiten aus diesem Zyklus werden in der Ausstellung mit Skulpturen von Duane Hanson in Dialog gebracht. F\u00fcr seine Bilderfindungen scheut Gregory Crewdson weder M\u00fche noch Kosten. Bis ins kleinste Detail werden die Inszenierungen im Voraus geplant und arrangiert, um dann mit gro\u00dfem logistischen und personellen Aufwand, der an Filmproduktionen erinnert, umgesetzt zu werden. Die endg\u00fcltige Fotografie ist das Resultat oft wochenlanger Arbeit, ein Umstand, in welchem sich inhaltlicher Tiefgang und technische Perfektion der Werke begr\u00fcnden. <\/p>\n\n\n\n

1988 schloss Crewdson sein Studium der Street Photography an der Yale School of Art in New Haven ab. 1993 kehrte er nach Yale zur\u00fcck und h\u00e4lt seitdem dort den Lehrstuhl f\u00fcr Fotografie inne. Auf der Suche nach atmosph\u00e4risch stimmigen Orten, in denen der K\u00fcnstler f\u00fcr die Fotoproduktion Kulissen wie Filmsets aufbauen l\u00e4\u00dft, reist er kreuz und quer durch den Staat Massachusetts. Zumeist sind es auch die Anwohner der maroden St\u00e4dte, die die Charaktere spielen d\u00fcrfen. Die Ergebnisse wirken wie Einzelbildaufnahmen aus einem Kinofilm und spiegeln seine Affinit\u00e4t zur Cineastik. Filmemacher wie Alfred Hitchcock, David Lynch oder Steven Spielberg inspirieren Crewdson zu seinen unheimlichen Geschichten, die er in einer einzigen Momentaufnahme einzufrieren scheint. Das Konstruieren dieses narrativen Moments zeigt die au\u00dfergew\u00f6hnliche Begabung des K\u00fcnstlers. Seine Arbeiten fordern den Betrachter, wie anspruchsvolle Literatur das mit dem Leser tut, denn er muss den entscheidenden Teil der kreativen Leistung selbst erbringen. Phantasie, Vorstellungs- und Assoziationskraft formen das Bildgeschehen im Geiste zu einer subjektiven, alternativen Realit\u00e4t \u2013 einer unheimlichen Wirklichkeit. Ein kurzer fl\u00fcchtiger Blick gen\u00fcgt dabei nicht. In die detailreichen Szenen voller Accessoires muss sich der Betrachter versenken, um das ganze Spektrum der Szenerie erfassen zu k\u00f6nnen. <\/p>\n\n\n\n

Crewdson arbeitet in seinen Fotografien gezielt mit Emotionen und \u00c4ngsten, die sich in wiederkehrenden, zum Teil sehr unterschiedlichen Szenarien durch sein Werk ziehen. In ihnen spiegeln sich Entfremdung, Abwesenheit, Scham, Sexualit\u00e4t und Verlust \u2013 menschliche Gef\u00fchlszust\u00e4nde, die den Betrachter zutiefst ber\u00fchren. Dass der K\u00fcnstler die Psyche in den Vordergrund seiner Arbeiten stellt, mag vielleicht auch daran liegen, dass er als Sohn eines Psychoanalytikers den Blick auf die Tiefgr\u00fcndigkeit der menschlichen Seele schon fr\u00fchzeitig erfahren konnte. Seine Arbeiten k\u00f6nnen als Metaphern f\u00fcr \u00c4ngste und Sehns\u00fcchte verstanden werden, f\u00fcr die Dinge, die unter der Oberfl\u00e4che, dem Augenf\u00e4lligen stattfinden, so als ob Crewdson eine neue oder andere Realit\u00e4tsebene sichtbar machen wolle, die zwischen Bewusstsein und Unterbewusstsein angesiedelt ist. <\/p>\n\n\n\n

Gleichzeitig l\u00e4sst sich die Werkgruppe \u201eBeneath the Roses\u201c als ein Psychogramm der amerikanischen Provinz wahrnehmen. Die Schaupl\u00e4tze zeigen soziale Realit\u00e4ten und dokumentieren den wirtschaftlichen Niedergang einer Gesellschaft hinter den Kulissen des American Way of Life. Unsentimental und direkt spiegeln sie das Leben der Arbeiterschicht \u2013 womit sich eine Br\u00fccke zu dem Werk von Duane Hanson schlagen l\u00e4sst, dessen Oeuvre ebenfalls um den Begriff der Menschlichkeit kreist, deren Facetten er in seinen stillen, in sich gekehrten Figuren Ausdruck verleiht. <\/p>\n\n\n\n

Die Entstehung von \u201eBeneath the Roses\u201c wurde in einer Serie von Produktionsaufnahmen (Production Stills), Originalzeichnungen des K\u00fcnstlers und detaillierten Beleuchtungspl\u00e4nen dokumentiert. Rund 60 Arbeiten aus diesem Fundus werden in einer Studioausstellung des Museums pr\u00e4sentiert, um den komplizierten technischen Herstellungsprozess der Fotografien zu veranschaulichen. <\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Duane Hanson (1925 -1996) is one of the most influential American sculptors of the 20th century committed to realism. His true-to-life and detailed human figures provide the perfect irritation in their realism. Despite all the seriousness behind the socially critical concern that led Hanson to create his protagonists, the figures have a high entertainment value, …<\/p>\n","protected":false},"featured_media":2121,"template":"","meta":{"_acf_changed":false,"footnotes":""},"exhibitiontype":[],"class_list":["post-2123","ausstellung","type-ausstellung","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nDUANE HANSON\/GREGORY CREWDSON. 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