East German Expressionism ; the Leipzig School of Painting Has Become a Phenomenon by Eschewing Art Trends

By Carol Strickland Correspondent of The Christian Science Monitor | The Christian Science Monitor, September 29, 2006 | Go to article overview

East German Expressionism ; the Leipzig School of Painting Has Become a Phenomenon by Eschewing Art Trends


Carol Strickland Correspondent of The Christian Science Monitor, The Christian Science Monitor


In the old Saxon city of Leipzig, art rivals soccer in excitement. Aficionados swoop down in their private jets for gallery openings. Collectors, critics, curators, and tourists on buses make regular stops at what is fast becoming a mecca in the art world. At the heart of the fuss: the Leipzig Art Academy in the former East Germany.

Academic art used to mean staid and stuffy. Now it means hot and hip, at least when it comes to works by graduates from the Academy. A traveling exhibition, "Life after Death: New Leipzig Paintings from the Rubell Family Collection" - on display at the Katzen Arts Center of American University in Washington, D.C., until Oct. 29 - showcases work by seven artists. What's being called "the Leipzig School of Painting" is "the first bona fide art phenomenon of the 21st century," says Laura Heon, the exhibition's co-curator.

Going against the grain of art world trends for photography and video art, the Leipzigers tell compelling stories in paint - but with a twist. Their moody landscapes, urban scenes, and interiors with an unsettling, film-noir sensibility - executed with consummate craftsmanship - distort realism into a twilight zone of millennial angst.

The attention sparked by this show and a 2005 exhibition at the Cleveland Museum of Art ignited "absolutely insane" demand for these works, says Ms. Heon.

Both the Cleveland and Washington shows focus on six German painters in their early 30s: Tilo Baumgaertel, Tim Eitel, Martin Kobe, Christoph Ruckhaeberle, David Schnell, and Matthias Weischer, as well as epic works by their mentor, Neo Rauch. What unites these painters is their rigorous training in the age-old craft of painting at the venerable Leipzig Academy and the fact that, after graduating, they chose to work in Leipzig, hardly the center of the art world.

A mecca for art pilgrims

Leipzig's status is changing. Collectors Don and Mera Rubell of Miami, and Michael Ovitz of Los Angeles (whose Ovitz Family Collection loaned works for Cleveland's show) bought works by these painters around 2003, followed more recently by Charles Saatchi of London.

Since these high-profile collectors are considered bellwethers of buzz in contemporary art, their interest jump-started a "ridiculous buying frenzy," according to Mark Coetzee, director of the Rubell Family Collection and co-curator of the traveling show. Leipzig became a destination for art lovers. Tourists and buyers visit a former cotton-spinning factory, the Spinnerai, an abandoned ruin in 1992 but now home to 80 professional artists' studios and a dozen galleries, according to Torsten Reiter, director of the Maerzgalerie there.

The scene wasn't always hopping. When the young painters chose to study in Leipzig about a dozen years ago, they bucked a stream of traffic surging the other way. After the fall of the Berlin Wall in 1989, about a third of Leipzig's population decamped. Factories closed, unemployment soared, and workers' subsidized apartment units were shuttered. It resembled a ghost town, but amid the desolation was opportunity. Artists could afford huge studios where they could work without distraction and survive on next to nothing.

The Leipzig painters also swam against the current of fashion. Under the Communist regime, the state required painters to produce uplifting, socialist-realist art glorifying the "workers' paradise." Leipzig ignored Western trends such as new media work, conceptual art, and installations. At the Academy, students took seven years of studio-based courses, while many Western art schools turned away from teaching traditional skills.

"Leipzig has long been a holy place of figurative art, a fortress against abstract art," says Berlin critic Tom Mustroph. …

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