THE LONG AND WINDING
JOANNE GREENBAUM
ULRIKE SCHULZE

05 NOV. 2022
13 JAN. 2023

 

Joanne Greenbaum | Ulrike Schulze 2022, The Long And Winding | VAN HORN, Photo J. BendzullaUlrike Schulze, Mauve Lady 2022, 163,5 x 43,5 x 31 cm, Painted ceramics, chipboard, steel, Photo M. TochaUlrike Schulze, Why So Serious, Professor? 2022, 119 x 41,4 x 32,5 cm, Painted ceramics, chipboard, steel, Photo M. TochaJoanne Greenbaum | Ulrike Schulze, 2022, The Long And Winding | VAN HORN, Photo J. Bendzulla
Joanne Greenbaum, Untitled, 2017, 153 x 122 cm, Paint on canvasJoanne Greenbaum, Untitled, 2017, 153 x 122 cm, Paint on canvas, Photo©The Artist & VAN HORN, DüsseldorfUlrike Schulze, Science Fiction I 2022, The Long And Winding | VAN HORN, Photo J. BendzullaUlrike Schulze, Science Fiction I 2022, 164,5 x 57 x 37 cm, Painted ceramics, chipboard, steel, Photo M. Tocha
Joanne Greenbaum | Ulrike Schulze, 2022, The Long And Winding | VAN HORN, Photo J. BendzullaUlrike Schulze, Lovebirds (for T.H.), 2022, 125,5 x 74,5 x 51 cm, Painted ceramics, chipboard, MDF, Photo M. TochaJoanne Greenbaum, Untitled, 2021, 153 x 123 cm, Paint on canvasUlrike Schulze, Die Halskette (The Necklace), 2022, 148,5 x 44,5 x 25, Painted ceramics, chipboard, MDF, Photo M. Tocha
Joanne Greenbaum, Untitled, 2018, 153 x 123 cm, Paint on canvasUlrike Schulze, Orbis Florum, 2022, 160 x 46 x 31 cm, Painted ceramics, chipboard, steel, Photo M. TochaJoanne Greenbaum, Untitled, 2017, 153 x 127 cm, Paint on canvasJoanne Greenbaum | Ulrike Schulze, 2022, The Long And Winding | VAN HORN, Photo J. Bendzulla

 

VAN HORN is pleased to present a dialogical exhibition with paintings by Joanne Greenbaum *1953, lives in New
York City and sculptures by Ulrike Schulze *1985, lives in Cologne.

Moving through the exhibition “The Long And Winding” we face the question of abstraction. Where can it lead
us? The American painter Sam Gilliam says about abstract painting: “it messes with you (…) it challenges you to
understand something that is different.” In the works of both artists, shapes and colors pave their way and
negate the question of a clear direction or even the existence of an objective. The question of that very objective
recedes into the background, while both Joanne Greenbaum and Ulrike Schulze devote themselves to the
process for the sake of the process. Both equally run a marathon, not a sprint in the creation of their Oeuvre.

Joanne Greenbaum’s paintings invite the eye to wander over her works, as if following an endless, winding road.
Along intense or delicate strokes of color that lead from canvas to canvas, revealing ever new landscapes of form
and color. A mountain of red rises before us, a labyrinth of white, purple and orange draws us deeper and
deeper into the spectacle on view.
As basic mentalities of the american artist one could mention unpredictability, as well as a serene nonfunctionality.
Greenbaum does not strive for beauty or formality in the creation of her works, but seems to actively
work against a classical categorization. The abstraction the artist offers us is disorienting because it breaks with
traditions of categorizing and interpreting. She challenges us by releasing the unfinished, the uncertain, the
playful for the contemplation of others. Her artistic expression is owed to an authentic curiosity, it points to a kind
of boundlessness that cannot be constricted or subjected to a set of rules.

If we observe Ulrike Schulze’s sculptures, we may assume that she did not become a sculptor for the sake of
sculpture, but to meet a necessity of finding form. Her sculptures “form a counter-design – even when the newer
objects made of ceramics with their delicate colors seem seductive at first” (Florian Peters-Messer, Ulrikes Lied).
Ulrike Schulze’s works harbor a mystery, because – similar to the riddle of the moon – one never knows what is
on the reverse side. They are to be looked at from both sides, indeed they have to be walked around. They have
a defined and yet undefined form, reminiscent of an architectural model, or of a rock face? They are explicit and
yet ambiguous. The objects promote in their human counterpart the ability to sense without words, to let oneself
be surprised. In this way, they slow down the viewer and invite him or her to take more time to engage with the
brittle and humorous aspects. In her creative phase Schulze goes through “a process she calls letting go – a
precise loss of control” (Florian Peters-Messer, Ulrikes Lied). The choice of material, the posture of the sculptures
come from her sensitively observing her daily life.

Joanne Greenbaum, excerpt from a text by Clara Stratmann
Ulrike Schulze, excerpt from a text by Dr. Nahlah Saimeh, quotes by Florian Peters-Messer from “Ulrike’s Song”.