Hans Breder, ‘Nearness - 1 of 3’, 1971, Print, Digital print from film still, Ethan Cohen Gallery
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Hans Breder

Nearness - 1 of 3, 1971

Digital print from film still
.
24 × 30 in
61 × 76.2 cm
Editions 1-5 of 5 + 2AP
Contact for price
30 × 40 in
76.2 × 101.6 cm
Editions 1-3 of 3 + 2AP
Contact for price
Location
New York, Beacon
Have a question? Visit our help center.
Hans Breder
American-German, 1935–2017
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A pioneer of interdisciplinarity in visual art, Hans Breder has spent his career working across media—and encouraging others to—producing performance-based, conceptual works that combine painting, sculpture, photography, video, sound, technology, and science. Trained classically as a painter in Germany, he moved to New York, where he created Constructivist-inspired sculptures to critical acclaim. In 1968, he founded the Intermedia Program at the University of Iowa, which he directed until 2000, and which was premised upon the unique exploration of what he defines as the “liminal” spaces between the arts, humanities, and sciences. Among Breder’s many well-known projects, which have been included in multiple Whitney Biennials, are his early “Body/Sculptures” photographic series (1969-73), featuring nude women (among them Ana Mendieta) holding mirrored plates that fracture their bodies surrealistically.

Hans Breder, ‘Nearness - 1 of 3’, 1971, Print, Digital print from film still, Ethan Cohen Gallery
Save
Save
View
View in room
Share
Share
Hans Breder
American-German, 1935–2017
Follow

A pioneer of interdisciplinarity in visual art, Hans Breder has spent his career working across media—and encouraging others to—producing performance-based, conceptual works that combine painting, sculpture, photography, video, sound, technology, and science. Trained classically as a painter in Germany, he moved to New York, where he created Constructivist-inspired sculptures to critical acclaim. In 1968, he founded the Intermedia Program at the University of Iowa, which he directed until 2000, and which was premised upon the unique exploration of what he defines as the “liminal” spaces between the arts, humanities, and sciences. Among Breder’s many well-known projects, which have been included in multiple Whitney Biennials, are his early “Body/Sculptures” photographic series (1969-73), featuring nude women (among them Ana Mendieta) holding mirrored plates that fracture their bodies surrealistically.

Hans Breder

Nearness - 1 of 3, 1971

Digital print from film still
.
24 × 30 in
61 × 76.2 cm
Editions 1-5 of 5 + 2AP
Contact for price
30 × 40 in
76.2 × 101.6 cm
Editions 1-3 of 3 + 2AP
Contact for price
Location
New York, Beacon
Have a question? Visit our help center.
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