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Tag: Dr Angelika Nollert

Munich; “Thomas Gentille – An American Jeweller”at Die Neue Sammlung

A fabulous exhibition at the Die Neue Sammlung ( The Design Museum, Munich) opened few weeks ago “Untitled. Thomas Gentille. American Jeweler”.  American Thomas Gentile  a leading studio jewelery artist in his first comprehensive exhibition on his oeuvre.  Die Neue Sammlung is presenting  190 jewelery objects and over 90 sketches supplemented by a film on the second floor of the Rotunda in Pinakothek der Moderne. Conception and curation of the exhibition: Dr Petra Hölscher. The exhibition will run through June 5 and is accompanied by a beautiful book by Arnoldsche Art Publishers.


Thomas Gentille, Pin, 20th century
Cherry, maple
Back: Industrial pins (h. 16.2 cm, b. 4.3 cm, d. 0.6 cm)
Photo: Eva Jünger

It is a body of work to be conceived in its entirety, in which Gentille has developed over six decades without hierarchy or genealogy; he  refrains from providing any kind of information on dates.  Gentle  favors innovative plastics, solid aluminium  wide variety of woods, papier-mâché, sawdust, silk threads, old glass spheres hand blown in Bohemia and air – over gold, silver and precious stones.


Thomas Gentille, Armlet, 20th century
Acrylic, nodized aluminum, bronze bolts
ø 15.5 cm, d. 0.7 cm
Photo: Eva Jünger


Thomas Gentille, Pin, 20th century
Colorcone (plastic), steel
Back: Industrial pins
h. 6.5 – 8 cm, b. 4 – 7.5 cm, d. 1 – 2.5 cm
Die Neue Sammlung – The Design Museum. Permanent loan of the Danner Foundation, Munich, photo: A. Laurenzo

The pieces of jewelery created by Thomas Gentile possess their own unmistakable pictorial language. Their geometrical and polygonal forms play with surfaces that are combined with three-dimensional and sometimes architectural shapes. The surfaces are primarily monochrome or display the colors and internal structure of the material used…..

The jewelery objects by Thomas Gentille developed in the context of the international emergence of studio jewelery as a field in its own right, but also in light of an approach that bridged the ornament as an all over- structure.  This means the works also forge a lint to art, to representatives of Minimalism, such as Donald Judd or Robert Mangold, and to Hard Edge approaches, such as that of Frank Stella. Such ideas are as relevant as is Jackson Pollock as a campion of Abstract Expressionism.  (Dr. Angelika Nollert, at foreword of the Thomas Gentille publication)


Thomas Gentille, Pin, 20th century
Eggshell inlay (Emu)
Back: Industrial pins (h. 14.9 cm, b. 5.2 cm, d. 0.8 cm)
Photo: Eva Jünger


Thomas Gentille, Pin, 20th century
Eggshell- inlay
Back: Industrial pins (h. 7.2 cm, b. 13.8 cm, d. 0.8 cm)
Photo: Eva Jünger

His works with an eggshell overlay are famous. Using this mysterious method and even without employing the old Asian lacquer technique he produces a krakelée surface on his works. Gentille explains that it takes years of experimentation and practice with the technique until you finally grasp the “soul of the material”. (press)


Thomas Gentille, late 1980s
Photo: Bill Philipps
Archive: Thomas Gentille

Thomas Gentille is born 1936 in Mansfield, Ohio, and a resident of New York since 1960. With Gentille, Die Neue Sammlung is continuation its tradition of exhibiting international studio jewelery.  Following extensive monographs of the works by Hermann  Jünger, Gijs Bakker, Dorothea Prühl, Giampaolo Babette, Peter Skubic, Otto Künzli and Anton Cepka, with Thomas Gentille another broad oeuvre is acknowledged – one which is closely linked to Munich and its development as a centre for studio jewelry. It was back in 2001 that Thomas Gentile was awarded the Herbert Hofmann Award in the jewelry section of the Internationale Handwerksmesse, Munich’s annual exhibition of craftsmanship, and since the artist has exhibited regularly in the city. In 2004 he was presented with he Bavarian State Award, in Munich. (Dr Angelika Nollert, foreword of published book, ‘Untitled. Thomas Gentille. American Jeweller.’) 


Thomas Gentille, Bracelet, 20th century
h. 6.9 cm, b. 3.8 cm
Photo: Eva Jünger



                                                                  Thomas Gentille, feb 26th, 2016,  photo@Venetia Kapernekas
a film conceived and realized by the artist about the two most important cities in his life, namely New York and Munich is projected in the premised of the Rotunda at Pinakothek der Moderne.


A beautiful  230-page catalog  by Arnoldsche Publications on the life and work of the artist with a preface by Dr.Angelika Nollert, an essay by Andrea DiNoto and an interview with Thomas Gentille conducted by Bettina Dittlmann and Dr.Petra Hölscher.


Thomas Gentille, Pin, 21st century
Air, plywood, maple, paint
Back: Industrial pins
h. 22.3 cm, b. 2.2 cm, d. 1.2 cm
Photo: Eva Jünger

Gentille’s works are owned by leading museums worldwide, including The Metropolitan Museum of Art, New York, Cleveland Museum of Art, Philadelphia Museum of Art, The Museum of Fine Arts, Houston, National Gallery of Victoria, Melbourne, Victoria and Albert Museum, London and Die Neue Sammlung – The Design Museum, Munich.

Munich; ‘Konstantin Grcic:the Good, the Bad, the Ugly’ at Die Neue Sammlung (the Design Museum)

12.11.2015-18.09.2016 (Paternoster Halle) &  12.11.2015-28.02.2016 (Temporär 2)  Die Neue Sammlung-The Design Museum/Pinakothek der Moderne
Curator: Dr. Angelika Nollert
Co-Curator: Dr. Xenia Riemann

Acclaimed international designer Konstantin Grcic (born 1965 in Munich, where he now lives) commenced with his exhibition  “the Good, the Bad, the Ugly”at Die Neue Sammlung, part of the new series “Mobile Structures”: Die Neue Sammlung has devised  a new exhibition  format specifically in order to emphasise the special architectural quality of the two-story Paternoster Hall, visible from one of the museum galleries.

The revolving movement of the paternoster elevators reflects the motto of an active Neue Sammlung.


photo@VK by permission


Blick in die Ausstellung “Konstantin Grcic: The Good, The Bad, The Ugly”, Foto: Gerhardt Kellermann © Konstantin Grcic

Grcic is an industrial designer and in this field above all a furniture designer.  Since the beginning of his career has has also been involved in devising presentations and representations…. His concept for the Paternoster Hall comprises a small number of interventions, which thanks to their precision are in fact highly effective.

The display cases, specially made for the models, are evidence of the importance of the design  process of chair _ONE  for Grcic, who makes it the central focal point of the exhibition.

“…here materials and design enter into a perfect symbiosis. Chair _ONE is a new milestone in design in its form and in its technical process. “(Dr. Angelika Nollert, director of die Neue Sammlung, in ‘Mobile Structures, museum publication ‘the Good, the Bad, the Ugly).


Blick in die Ausstellung “Konstantin Grcic: The Good, The Bad, The Ugly”, Foto: Gerhardt Kellermann © Konstantin Grcic

The exhibition is complex, but quite challenging and beautiful. A lovely afternoon I met  Dr Angelika Nollert, director of Die Neue Sammlung over lunch and passionately she  talked about the exhibition and some important  points of references marvellously gave me a different awareness  of the exhibition.

…Despite its uniqueness chair_ONE possesses numerous qualities that are characteristics of works by Grcic. Just as chair_ONE is reminiscent of architectural load-bearing structures by Buckminster Fuller, other products by Grcic reflect pieces by other designers.  For instance, the cantilever chair Myto is an homage to the S-Chair by Verner Panton, and 360 Container cites Joe Colombo’s tower of drawers. Le Corbusier, Franco Albini, Jasper Morrison, De Stijl and the Shakers and kindred spirits with Grcic and  his idea of reduction, essentiality and substance, as expressed in the seating designs Traffic, Parrish, Medici Lounge and Dahlem’ (Dr Angelika Nollert)


Konstantin Grcic, model #1 for chair_ONE, 1999/2000-2004
Photo: Gerhardt Kellermann © Konstantin Grcic


Konstantin Grcic, model #2 for chair_ONE, 1999/2000-2004
Photo: Gerhardt Kellermann © Konstantin Grcic


Konstantin Grcic, chair_ONE, Magis, 2004
Photo: Gerhardt Kellermann © Konstantin Grcic

The third section in the exhibition. quite impressive and complex concept,  is called “TT-Pavilion.  Dr Angela Nollert explains to me, ‘…when designing his TT-Pavilion Grcic sought to transfer advanced automotive technology into an architectural context…’

In  this exhibition Grcic presents the TT-Pavilion, conceived in 2014 as the trade fair stand for Audi, in a scenographic installation…The octagonal mobile architecture brings to mind the mobile wooden houses of Jean Prouvé or Charlotte Perriand as well the plastic pavilion utopias by Jean Benjamin Manual or Matti Suuronen. 


Blick in die Ausstellung “Konstantin Grcic: The Good, The Bad, The Ugly”, Foto: Gerhardt Kellermann © Konstantin Grcic

The transformation of the space is achieved thanks to a panorama picture carried out by poster artist René Birkner and painter Alina Birkner.  Dr Angelika Nollert says, ” …Just as the UFO is a hybrid, the landscape is a pasticcio of the motifs of Monument Valley, the backdrop of skyscrapers in a megacity and non-cultivated vegetation…”




photos@Venetia Kapernekas, by permission

The exhibition title, “The Good, The Bad, The Ugly’, borrowed from a classic Western, highlights this relation between aesthetics and character and in so doing ironically references the great emotional potential of design and reception.


Konstantin Grcic, prototype #4 (stress model) for stool_ONE (bar stool), 2004-2006
Photo: Gerhardt Kellermann © Konstantin Grcic
The exhibition will be accompanied by a publication featuring photos by Gerhardt Kellermann, designed by Lambl/Homburger, with an essay by Hubert Filser based on a conversation he moderated between Konstantin Grcic and Tim Bechthold, Head of Conservation, as well as an introduction to Grcic’s oeuvre by Angelika Nollert. The exhibition catalogue is published by Verlag der Buchhandlung Walter König, Cologne.


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