CARL OSTENDARP: I have a kind of horror of composition. It tends to make things feel episodic, I think, like big orange thing in the lower left, small blue thing in the upper right. It feels like, oh, this is happening in a moment or this is about a moment that already occurred. And so I like it to feel present.
Frieder Burda, who's the collector who built the museum passed away fairly recently. So in part, the show is an homage to him. And that he had a plan that he wanted to do an exhibition there that would be including the collections of his two brothers. They asked Udo Kittleman to be the curator of the show. And he invited me to come and sort of stage the exhibition with wall paintings that the collection will hang on top of.
There's four galleries and then a number of walls in between on which we're going to hang the Warhol portrait of these three brothers. This is Frieder, whose museum it is, and then the two brothers next to him. All of the spaces are these sort of images of dripping paint to make you feel like you're inside of the space, each with two different colors, one kind of ground color and one of the sort of image of paint. But they also sort of read like horizon landscape or like EKGs or sound waves or something like that.
Mostly, the senses I want people to feel like they're contained, that it's around them, sort of similar to the way you experience music. It's not that it comes at you from one direction, but that you're in it. My job is to work to make the kind of authorship of the paintings included more present, less like historical artifacts and less like opportunities for connoisseurship, that doesn't feel like this is a stop action shot of it, in between one moment and the next.
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In his Olive Tjaden Hall studio, professor of art Carl Ostendarp discusses his approach to painting as he prepares wall murals as an installation for a major exhibition opening May 12 at Museum Frieder Burda in Baden-Baden, Germany.