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Karel Appel

Born  Apr 25 1921,  Amsterdam,  Netherlands.
Died  May 3 2006,  Zurich,  Switzerland.

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Karel Appel
The Crying Crocodile Tries to Catch the Sun
Karel Appel Foundation
In 1948 Appel and a group of young Dutch artists set up the Dutch Experimental Group in Amsterdam. The Group publishes the periodical Reflex and some months later merges with the Danish and Belgian artists to become the International Cobra group. It is founded on November 8, at the Café de l'Hotel Notre Dame in Paris, by Dotremont and Noiret (Belgium), Jorn (Denmark), Appel, Constant and Corneille (The Netherlands). Later, Alechinsky (Belgium) joins the group.
Karel Appel
Karel Appel works in the TATE collection
Karel Appel
Karel Appel is one of the leading members of the Cobra group (1948-1951) where writers, poets and artists united to work together from Kopenhagen, Brussels and Amsterdam. In all this the collective aspect was most dominant. Led by the Belgian writer Dotremont the CoBrA-magazine, books and much talked about exhibitions came into being.CoBrA showed a new mentality, a new approach and new depictions.
Karel Appel: Autoportrait - Appel Himself
Karel Appel was born in Amsterdam where he also studied fine arts at the Royal Academy of Fine Arts. In 1948, together with Corneille, Constant and Jan Nieuwenhuys, he founded Reflex an experimental group of artists named after the magazine they published. Reflex became part of the international CoBrA (Copenhagen, Brussels, Amsterdam) movement founded in Paris 8th November 1948. CoBrA became known for the spontaneous expressionistic style that characterized the paintings rendered by its members. Appel is considered one of the initiators of CoBrA, which brought international recognition to a number of its members, such as Asger Jorn, Egill Jacobsen, Corneille and Pierre Alechinsky.

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DOCUMENTS OF CONTEMPORARY ART


THEORY IN CONTEMPORARY ART (Documents of Contemporary Art) is a groundbreaking anthology that captures the essence and the edge of the contemporary art scene. Provides the first truly comprehensive and international anthology of theory in contemporary art of the last two decades.
Brings together a broad selection of important contributions to the fields of contemporary art, theory, and culture from established and emergent art voices, including scholars, curators, critics, and artists from around the globe.
Focuses on key theoretical and aesthetic issues in contemporary art, such as cultural/multicultural theory, identity politics, AIDS, post-colonialism, globalization, and spectatorship.
Includes editorial material and 44 illustrations.

THE ARTIST'S JOKE (Documents of Contemporary Art) The Artist's Joke surveys the rich and diverse uses of humor by avant-garde and contemporary artists. The texts collected in this new reader from London's Whitechapel Gallery examine what Andre Breton called the "lightning bolt" of the unsettlingly comic, as seen in the anarchic wordplay of Duchamp, Picasso, the Dadaists, and Surrealists; Pop's fetish for kitsch and the comic strip; Bruce Nauman's sinister clowns and twisted puns; Richard Prince's joke paintings; art ambushed by feminist wit, from the Dadaism of Hannah Hoch in the 1920s to the politicized conceptualism of Jenny Holzer and Barbara Kruger in the 1980s; the serenely uncanny in Mike Kelley's installations and the risibly grotesque in Paul McCarthy's; and the strangely comic scenarios of artists as various as Maurizio Cattelan, Andrea Fraser, Raymond Pettibon, and David Shrigley. Artists' writings are accompanied and contextualized by the work of critics and thinkers including Freud, Bergson, Helene Cixous, Slavoj Zizek, Karel Appel, Jorg Heiser, Jo Anna Isaak, and Ralph Rugoff.

THE CINEMATIC (Documents of Contemporary Art) The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Douglas, Nan Goldin, Douglas Gordon, Cindy Sherman, and Jeff Wall, among others. Much recent cinema, meanwhile, is rich with references to contemporary photography. Video art has taken a photographic turn into pensive slowness; photography now has at its disposal the budgets and scale of cinema. This addition to Whitechapel's Documents of Contemporary Art series surveys the rich history of creative interaction between the moving and the still photograph, tracing their ever-changing relationship since early modernism.
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