Lutz Bacher

  • In a career spanning more than four decades, Lutz Bacher (born 1952, lives in New York) has built a highly heterogeneous oeuvre that defies classification. The American artist, who adopted her male pseudonym when she first started out, has produced conceptual work in a variety of media. Bacher’s photographs, sculptural arrangements, videos, sound pieces, and expansive installations incorporate images and objects that are fixed in collective memory and easily retrieved: press photographs of public figures that, copied several times over, begin to lead a strangely aesthetic new life, found objects from thrift shops she integrates into her installations as objets trouvés and readymades. Her appropriations draw on vernacular and pop culture sources such as dime novels, porn magazines, self-help literature, and paparazzi snapshots. The human body, sexuality, power, and violence are key issues in her art, as is the deliberate blurring of the line separating the private from the public sphere.

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Lutz Bacher, Sweet Jesus
31 May 2017–04 Jun 2017 Events
Lutz Bacher

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In a career spanning more than four decades, Lutz Bacher (born 1952, lives in New York) has built a highly heterogeneous oeuvre that defies classification. The American artist, who adopted her male pseudonym when she first started out, has produced conceptual work in a variety of media. Bacher’s photographs, sculptural arrangements, videos, sound pieces, and expansive installations incorporate images and objects that are fixed in collective memory and easily retrieved: press photographs of public figures that, copied several times over, begin to lead a strangely aesthetic new life, found objects from thrift shops she integrates into her installations as objets trouvés and readymades. Her appropriations draw on vernacular and pop culture sources such as dime novels, porn magazines, self-help literature, and paparazzi snapshots. The human body, sexuality, power, and violence are key issues in her art, as is the deliberate blurring of the line separating the private from the public sphere.