Erwin Heerich (1922 - 2004) — Auction price
Erwin Heerich was a German artist.
Heerich emphasized that for him, "cardboard, like polystyrene, had no specifically aesthetic or historical connotations, the materials are value-neutral to the largest possible extent." Furthermore, the artist was not primarily "concerned with the manifestation of an art object, but with making an idea material in terms of a specific problem: how space can be presented and formed."
Erwin Heerich was a German artist.
Heerich emphasized that for him, "cardboard, like polystyrene, had no specifically aesthetic or historical connotations, the materials are value-neutral to the largest possible extent." Furthermore, the artist was not primarily "concerned with the manifestation of an art object, but with making an idea material in terms of a specific problem: how space can be presented and formed."
Erwin Heerich was a German artist.
Heerich emphasized that for him, "cardboard, like polystyrene, had no specifically aesthetic or historical connotations, the materials are value-neutral to the largest possible extent." Furthermore, the artist was not primarily "concerned with the manifestation of an art object, but with making an idea material in terms of a specific problem: how space can be presented and formed."
Erwin Heerich was a German artist.
Heerich emphasized that for him, "cardboard, like polystyrene, had no specifically aesthetic or historical connotations, the materials are value-neutral to the largest possible extent." Furthermore, the artist was not primarily "concerned with the manifestation of an art object, but with making an idea material in terms of a specific problem: how space can be presented and formed."
Erwin Heerich was a German artist.
Heerich emphasized that for him, "cardboard, like polystyrene, had no specifically aesthetic or historical connotations, the materials are value-neutral to the largest possible extent." Furthermore, the artist was not primarily "concerned with the manifestation of an art object, but with making an idea material in terms of a specific problem: how space can be presented and formed."
Erwin Heerich was a German artist.
Heerich emphasized that for him, "cardboard, like polystyrene, had no specifically aesthetic or historical connotations, the materials are value-neutral to the largest possible extent." Furthermore, the artist was not primarily "concerned with the manifestation of an art object, but with making an idea material in terms of a specific problem: how space can be presented and formed."
Erwin Heerich was a German artist.
Heerich emphasized that for him, "cardboard, like polystyrene, had no specifically aesthetic or historical connotations, the materials are value-neutral to the largest possible extent." Furthermore, the artist was not primarily "concerned with the manifestation of an art object, but with making an idea material in terms of a specific problem: how space can be presented and formed."
Erwin Heerich was a German artist.
Heerich emphasized that for him, "cardboard, like polystyrene, had no specifically aesthetic or historical connotations, the materials are value-neutral to the largest possible extent." Furthermore, the artist was not primarily "concerned with the manifestation of an art object, but with making an idea material in terms of a specific problem: how space can be presented and formed."
Erwin Heerich was a German artist.
Heerich emphasized that for him, "cardboard, like polystyrene, had no specifically aesthetic or historical connotations, the materials are value-neutral to the largest possible extent." Furthermore, the artist was not primarily "concerned with the manifestation of an art object, but with making an idea material in terms of a specific problem: how space can be presented and formed."
Erwin Heerich was a German artist.
Heerich emphasized that for him, "cardboard, like polystyrene, had no specifically aesthetic or historical connotations, the materials are value-neutral to the largest possible extent." Furthermore, the artist was not primarily "concerned with the manifestation of an art object, but with making an idea material in terms of a specific problem: how space can be presented and formed."
Erwin Heerich was a German artist.
Heerich emphasized that for him, "cardboard, like polystyrene, had no specifically aesthetic or historical connotations, the materials are value-neutral to the largest possible extent." Furthermore, the artist was not primarily "concerned with the manifestation of an art object, but with making an idea material in terms of a specific problem: how space can be presented and formed."
Erwin Heerich was a German artist.
Heerich emphasized that for him, "cardboard, like polystyrene, had no specifically aesthetic or historical connotations, the materials are value-neutral to the largest possible extent." Furthermore, the artist was not primarily "concerned with the manifestation of an art object, but with making an idea material in terms of a specific problem: how space can be presented and formed."
Erwin Heerich was a German artist.
Heerich emphasized that for him, "cardboard, like polystyrene, had no specifically aesthetic or historical connotations, the materials are value-neutral to the largest possible extent." Furthermore, the artist was not primarily "concerned with the manifestation of an art object, but with making an idea material in terms of a specific problem: how space can be presented and formed."
Erwin Heerich was a German artist.
Heerich emphasized that for him, "cardboard, like polystyrene, had no specifically aesthetic or historical connotations, the materials are value-neutral to the largest possible extent." Furthermore, the artist was not primarily "concerned with the manifestation of an art object, but with making an idea material in terms of a specific problem: how space can be presented and formed."
Erwin Heerich was a German artist.
Heerich emphasized that for him, "cardboard, like polystyrene, had no specifically aesthetic or historical connotations, the materials are value-neutral to the largest possible extent." Furthermore, the artist was not primarily "concerned with the manifestation of an art object, but with making an idea material in terms of a specific problem: how space can be presented and formed."
Erwin Heerich was a German artist.
Heerich emphasized that for him, "cardboard, like polystyrene, had no specifically aesthetic or historical connotations, the materials are value-neutral to the largest possible extent." Furthermore, the artist was not primarily "concerned with the manifestation of an art object, but with making an idea material in terms of a specific problem: how space can be presented and formed."
Erwin Heerich was a German artist.
Heerich emphasized that for him, "cardboard, like polystyrene, had no specifically aesthetic or historical connotations, the materials are value-neutral to the largest possible extent." Furthermore, the artist was not primarily "concerned with the manifestation of an art object, but with making an idea material in terms of a specific problem: how space can be presented and formed."
Erwin Heerich was a German artist.
Heerich emphasized that for him, "cardboard, like polystyrene, had no specifically aesthetic or historical connotations, the materials are value-neutral to the largest possible extent." Furthermore, the artist was not primarily "concerned with the manifestation of an art object, but with making an idea material in terms of a specific problem: how space can be presented and formed."
Erwin Heerich was a German artist.
Heerich emphasized that for him, "cardboard, like polystyrene, had no specifically aesthetic or historical connotations, the materials are value-neutral to the largest possible extent." Furthermore, the artist was not primarily "concerned with the manifestation of an art object, but with making an idea material in terms of a specific problem: how space can be presented and formed."
Erwin Heerich was a German artist.
Heerich emphasized that for him, "cardboard, like polystyrene, had no specifically aesthetic or historical connotations, the materials are value-neutral to the largest possible extent." Furthermore, the artist was not primarily "concerned with the manifestation of an art object, but with making an idea material in terms of a specific problem: how space can be presented and formed."
