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Corinne Wasmuht: The Speed of Painting

Corinne Wasmuht, German, 50 U Heinrich-Heine-Str., 2009. Oil on wood. Harvard Art Museums/Busch-Reisinger Museum, Gift of Ann and Graham Gund in honor of Martha Tedeschi, 2016.387.

Lecture Busch-Reisinger Museum Lecture

Harvard Art Museums
32 Quincy Street, Cambridge, MA

This event was recorded. Please view the lecture here.

Corinne Wasmuht (b. 1964) is considered one of the most important German painters of her generation. In this lecture, the artist will discuss her work, from her early naturalistic structures of the late 1980s to more recent large-scale oil paintings, which reflect her interest in digital imagery and the anonymity of public space.

Stephan Berg, director of the Kunstmuseum Bonn, says that Wasmuht’s work “presents a paradox: how does one of the slowest forms of image-making (painting) reveal the speed of the digital age and the collapsing of space under constant acceleration so that we experience both: acceleration and deceleration, the technological thrust pushing us continuously forward, like Walter Benjamin’s Angel of History, and the foundation on which he stands. One can truly say: Corinne Wasmuht paints the fastest and most fleeting pictures of all in the slowest and richest way imaginable.”

The lecture will take place in Menschel Hall, Lower Level. Please enter the museums via the entrance on Broadway. Doors will open at 5:30pm.
Free admission, but seating is limited. Tickets will be distributed beginning at 5:30pm at the Broadway entrance. One ticket per person.
Following the program, guests are invited to view Wasmuht’s work 50 U Heinrich-Heine-Str., currently on view in Gallery 1120, until 8pm.
Complimentary parking available in the Broadway Garage, 7 Felton Street, Cambridge.

The Busch-Reisinger Museum Lectures, sponsored by the German Friends of the Busch-Reisinger Museum, present important speakers on topics of central and northern European art.
In addition, modern and contemporary art programs at the Harvard Art Museums are made possible in part by generous support from the Emily Rauh Pulitzer and Joseph Pulitzer, Jr., Fund for Modern and Contemporary Art.