This new approach to the oeuvre of the artist Mary Bauermeister describes the many-valued aesthetics she developed in her works.

»Yes, No, Perhaps« are the most written words in Mary Bauermeister's artworks. Together they stand for the concept of many-valued aesthetics in the German artist's oeuvre an aesthetic that Bauermeister developed using many-valued logic. Hauke Ohls brings the artist's central groups of works in context with each other as well as with the neo-avant-garde of the post-war period in Europe and the USA. He shows that the development of Bauermeister's art may appear disparate, but her canvas and relief works, drawings and writing pictures, lens boxes and stone pictures are characterized by a reciprocal relationship of combinations and interconnections. Through the ubiquitous use of meta-references, the entire oeuvre ultimately appears as an interconnected assemblage.

Autorentext
Hauke Ohls ist Kunstwissenschaftler und wissenschaftlicher Mitarbeiter am Lehrstuhl für Neuere und Neueste Kunstgeschichte/Kunstwissenschaft der Universität Duisburg-Essen. Daneben ist er Mitarbeiter der Künstlerin Mary Bauermeister und mit dem Erstellen ihres Werkverzeichnisses beauftragt. Seine Forschungsschwerpunkte liegen in den Bereichen von theoretischen, soziologischen und philosophischen Fragestellungen der modernen und zeitgenössischen Kunst, insbesondere der politisch-ökologischen Ästhetik, dem Diskurs um Objekt, Materialität und Bild, Medienkunst sowie der transkulturellen Kunstgeschichte.

Klappentext

'Yes, No, Perhaps' are the most written words in Mary Bauermeister's artworks. Together they stand for the concept of many-valued aesthetics in the German artist's oeuvre - an aesthetic that Bauermeister developed using many-valued logic. Hauke Ohls brings the artist's central groups of works in context with each other as well as with the neo-avant-garde of the post-war period in Europe and the USA. He shows that the development of Bauermeister's art may appear disparate, but her canvas and relief works, drawings and writing pictures, lens boxes and stone pictures are characterized by a reciprocal relationship of combinations and interconnections. Through the ubiquitous use of meta-references, the entire oeuvre ultimately appears as an interconnected assemblage.