Annette Lucks | | 
Annette Lucks | 
Stadt | 
Stille Stadt | 
Verlassene Stadt |
Born in 1952 in Regensburg | 1973 – 79 Studies at the Academy of Visual Arts in Munich with Mac Zimmermann | 1980 Scholarship of the German Academic Exchange Foundation (DAAD), Cracow/Poland | 1982 – 2001 work visits to Italy | 1993 Third Saxonian Printmaking Symposium in Hohenossig near Leipzig/GOLART Foundations | 1998 scholarship of the Prinzregent Luitpold Foundation, Munich | Since 1998 teaching assignments at Munich University of Applied Sciences | 2000 art scholarship of the Bavarian Academy of Visual Arts, Munich | Since 2005 work visits to the ceramics workshop San Giorgio in Albissola?/ Italy| 2007 working scholarship at the Virginia Center for the Creative Arts, Mt. San Angelo/USA | 2008 working scholarship of the Fundación Beatrice and Paul Beckett, Mojácar/ Spain
Individual exhibits (Selection)
1992 Galerie Jahn & Fusban, Munich and Gallery Fred Jahn, Stuttgart | 1994 Städtische Galerie Leerer Beutel, Regensburg | 1995 Galerie Titan, Frankfurt a. Main | 1995 Galerie für Zeitkunst, Bamberg and Ecke-Galerie Elisabeth Schulte, Augsburg | 1997 Verein für Originalradierung (Association for Original Etching), Munich | 1997 images and drawings for Djuna Barnes’ “Nachtgewächs” (Nightwood), Galerie Fred Jahn, Munich | 2000 Städtische Galerie im Cordonhaus Cham | 2000 Stadtmuseum Ingolstadt and Marieluise Fleißer Documentation Center in the Fleißerhaus | 2001 Galerie Josephski-Neukum, Issing | 2006 Atelier-Galerie Oberländer, Augsburg | 2007 Galerie Fred Jahn, Munich | 2010 Maurer Zilioli Contemporary Arts Brescia/Italy
The Transformation of the Drawing
Etching promises to be a happy endeavour, but the first glimpse of the first print may trigger disappointment. However, etching always grants the artist a degree of freedom to handle and specify the motive and to make it disappear, and to recapture it in the terrain of painting and drawing: This is how unique works of art come about. Between reproduction and unique works of art there are possibilities to manage the hazard, an area to leave behind and depart from a progressing view – that of painting and drawing as well as that of the successful motive, in order to “work into the dark”. In return, the variation – with a commitment to the experiment in terms of risk – is produced and sustained with new excitement.
The possibility given by the technique of reproducibility to add variations with an emphasis on change or condensation leads to a series of images that give the motive different meanings and motions and which duplicate and synoptically extend the impression of the held and relinquished motive. Furthermore, those interested also have the possibility of experimenting with a theme identified by means of a special writing technique and design image correspondences as “payload” to the illustration of own texts; they may be designed as Leporello. Sugar lifts, drypoints and monotypes are used in combination to find an image.
Please bring brushes, crayons, and etching needles. Additional material will be ordered from the firm Boesner.
Participation requirements and application documents:
Short CV, short description of own expectations. A maximum number of 10 photos of own artwork, not only of etching work. A tendency to be amazed and great “Fingerspitzengefühl” or instinctive feeling. Max. number of participants: 12
|
