© William N. Copley
WILLIAM N. COPLEY
ROO-A-TOOT-TOOT
THREE TIMES SHE SHOT
THROUGH THAT HARDWOOD DOOR
KÖNIG BERLIN
2 JUNE – 27 JULY 2023
From June 2 to July 27, 2003, after one year of existence, Johann König is now showing works by William N. Copley (1919-1996).
The exhibition of works by the great William N. Copley is, in a sense, the prelude to the presentation of a whole series of older positions in the history of post-war art, which we intend to present once a year in the future as an important basis and reference for contemporary art production. In this case, it is the painting of the American painter who died in 1996 and who revolutionized American art in his own way.
We are pleased to be able to present one of the most important cycles of paintings to the public and thus to give a painterly position in the midst of current events the recognition that it has long enjoyed among connoisseurs, but which is far too short in public reception. Copley was throughout his life and is in his painting and acting great role model for many contemporaries and until today a figure surrounded by myths. His skillful translation of Surrealism directly into the synthetic dream America of the 60s with the reference system to the art of Magritte, Max Ernst, and Man Ray, which he valued above all else, and a blatant satire of all (educational) bourgeois taboos should not be missing as a reference point for every effort to establish painting as a medium again and again and to present it in genealogies.
2 JUNE – 27 JULY 2023
From June 2 to July 27, 2003, after one year of existence, Johann König is now showing works by William N. Copley (1919-1996).
The exhibition of works by the great William N. Copley is, in a sense, the prelude to the presentation of a whole series of older positions in the history of post-war art, which we intend to present once a year in the future as an important basis and reference for contemporary art production. In this case, it is the painting of the American painter who died in 1996 and who revolutionized American art in his own way.
We are pleased to be able to present one of the most important cycles of paintings to the public and thus to give a painterly position in the midst of current events the recognition that it has long enjoyed among connoisseurs, but which is far too short in public reception. Copley was throughout his life and is in his painting and acting great role model for many contemporaries and until today a figure surrounded by myths. His skillful translation of Surrealism directly into the synthetic dream America of the 60s with the reference system to the art of Magritte, Max Ernst, and Man Ray, which he valued above all else, and a blatant satire of all (educational) bourgeois taboos should not be missing as a reference point for every effort to establish painting as a medium again and again and to present it in genealogies.