Dan's Papers July 23, 2010

Page 90

DAN'S PAPERS, July 23, 2010 Page 90 www.danshamptons.com

Honoring the Artist: Uschi Ludemann Because this week’s cover artist, Uschi Ludemann, is living in Germany, we did not have the opportunity to talk with her directly. But emails from her accounted for some biographical data; other information came from seeing her images online. While this process is not the best way of analyzing an artist’s work, both her impressive background and arresting abstractions are enough to characterize Ludemann as a talented, multidimensional individual whose worldview goes beyond the mundane. First, Ludemann’s professional background. She was born in Bad Worishofen, Bavaria Germany, yet her academic training was extensive. For example, many of her art teachers at the Hochschule fur bildende Kunste in Dusseldorf and Frankfurt Main were outstanding, among

them the renowned artists Joseph Beuys and Raimer Jochims. After completing a Fine Arts degree, Ludemann graduated in other disciplines, like art history, archaeology and philosophy, at the Johann Wolfgang Goethe-University in Frankfurt Main. Ludemann has put her early training to work, lecturing in art history/theory and contemporary art/painting since 1984. Additionally, she has exhibited her own paintings in such diverse places as Los Angeles, New York, Rio de Janeiro and Johannesburg. She also exhibited works at the Elaine Benson Gallery during the late 1990s, since she often works in the Hamptons. Regarding Ludemann’s abstractions, much more can be said. According to her own description, these images are “subtly balanced

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contrasts that are layered to great effect with strong brush strokes and often accompanied by areas of the finest mist-like tonality.” Ludemann’s works have also been seen as “large format pictures that articulate space and light, depth and distance and boundless spaces.” While these formal elements are present in Ludemann’s work, there are other aspects that are equally striking. Thus, the artist’s paintings resemble a musical composition or dance movement, at least to this critic. Consider the articulation of themes, variations on a theme and then a return to the initial concept. For example, in a 1997 abstraction, two narrow bands of green and red color run across the canvas. Yet subsequent “bands” become wider and merge with each other, like in “Indian Summer 1 and 11.” They begin to look like reflections in water. Work done in 1999 (“Diptychon”) evolves from water to a full-fledged glacier, falling and rising at will. Color also starts out as bold, like green and red, then becomes green and yellow or green, blue and white in other images. A splash of red in an early piece develops into all-red canvases years later with Ludemann’s local scenes capturing East Hampton’s and Water Mill’s landscapes. Small abstract markings even suggest figures. Depiction of the Hamptons’ landscape, abstract as it is, is an intriguing concept. Yet the use of red is all the more fascinating considering that not many artists perceive our indigenous environment with such sensuality. For information, contact mail@uschi-luedemann.de. –Marion Wolberg Weiss

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