Kiki Kogelnik (1935–1997) was an Austrian painter, sculptor and printmaker. Born in southern Austria, she studied at the Vienna Academy of Fine Arts and moved to New York in 1961. Kogelnik is considered Austria’s most important pop-related artist, despite having been known to take issue with being considered part of the pop art movement.Kogelnik began her career at the Galerie Nächst St. Stephan in Vienna in 1961, showing abstract works. At the time she was influenced by Serge Poliakoff of the École de Paris, but later found her own unique genre while surrounded by the pop art movement in New York. At one point she was engaged to Austrian abstract expressionist artist Arnulf Rainer.Kogelnik was close to another abstract expressionist, the American artist Sam Francis, and spent time with him in 1961 in New York and Santa Monica, California. Kogelnik then moved to New York in 1962 where she joined a close-knit group of artists that included Roy Lichtenstein, Claes Oldenburg, Andy Warhol, Larry Rivers, Tom Wesselmann, Joan Mitchell, Robert Rauschenberg and Jasper Johns, among others. Pop was a way of life, and with Kogelnik extravagant hats and outfits Kogelnik became a captivating happening wherever she went.
In the 1970s Kogelnik’s focus shifted to what later became known as her Women works, specifically addressing the female role portrayed in commercial advertising. Broaching feminist issues indirectly with irony, humor and a cool pop aesthetic was unique to Kogelnik’s work during this time. In 1974 she also began to work occasionally with ceramics, employing sculptural form as an extension of painting.
In the 1980s, fragmented people, signs and symbols begin to fill Kogelnik’s work and in her Expansions series she used ceramic modules shown in conjunction with her paintings. She also produced and directed a short 16mm B&W film CBGB in 1978, featuring Jim Carroll and others.
In later works, the human body is depicted in increasingly fragmented and manipulated form, until in the 1990s much of her work portrayed highly abstracted yet expressive faces. During this time Kogelnik created a series of glass sculptures, related drawings and prints, in which she sought to comment on decorative and commercial themes in art-making.Wikipedia
In later works, the human body is depicted in increasingly fragmented and manipulated form, until in the 1990s much of her work portrayed highly abstracted yet expressive faces. During this time Kogelnik created a series of glass sculptures, related drawings and prints, in which she sought to comment on decorative and commercial themes in art-making.Wikipedia
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