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Kerstin Brätsch is a German contemporary visual artist who often creates large-scale, highly abstract works that combine multiple media. She studied at the University of Art in Berlin and Columbia University in New York and received a Master of Fine Arts degree in 2007. She currently lives and works in New York.
Brecht creates large works that she exhibits in a particular manner. This is as far as possible from the standard form of exhibiting artwork. She hangs her works on magnets, inserts them in double glass frames and rests them against the wall, leaving them on the floor. Using this peculiar method of presentation, she combines a bit of performance art into her visual works.
In 2014, Bratsch was awarded the August Macke Prize. In 2017, Bratsch was awarded the second Edvard Munch Art Prize, which is a cash prize and a solo exhibition at the Munch Museum in 2019.
Bruno Munari was an Italian painter, sculptor, graphic artist, designer, theorist, and educator.
He was called the orchestra man: Munari drew, illustrated, sculpted, photographed, designed advertisements, furniture and toys, wrote books, taught, made movies. Pablo Picasso called him the "new Leonardo."
As an inventor, Munari laid the foundations for many new kinds of visual art. For example, it was he who invented the suspended structures-mobiles that respond to the slightest fluctuations in the air, "useless machines" that are designed to distract the viewer from the everyday hustle and bustle.
Walter Stöhrer is a German painter and graphic artist, a representative of gesture-figure painting.
He studied painting at the Academy of Arts in Karlsruhe and was a member of the Academy of Arts in Berlin.
Bernhard Heisig was a German painter of the postwar Leipzig school and one of the greatest artists of the GDR.
From 1942 to 1945 he participated in World War II as a volunteer in the 12th SS Armored Division "Hitler Youth", was seriously wounded, was in a Soviet prison camp and was released in Breslau as an invalid.
All these difficult events were reflected in Heisig's work. His unrelenting preoccupation with war made his work as manic as it was monolithic. Anger was what kept him working.