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Szeemann (Harald) Papers
2011.M.30
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Title: Harald Szeemann papers
Date (inclusive): 1800-2011, bulk
1949-2005
Number: 2011.M.30
Creator/Collector:
Szeemann, Harald
Physical Description:
2000.7 Linear Feet
(3888 boxes, 449 flatfiles, 6 crates, 3 bins, 24 reels)
Repository:
The Getty Research Institute
Special Collections
1200 Getty Center Drive, Suite 1100
Los Angeles 90049-1688
Business Number: (310) 440-7390
Fax Number: (310) 440-7780
reference@getty.edu
URL: http://hdl.handle.net/10020/askref
(310) 440-7390
Abstract: Swiss art curator Harald Szeemann
(1933-2005) organized more than 150 exhibitions during a career that spanned almost five
decades. An advocate of contemporary movements such as conceptualism, land art, happenings,
Fluxus and performance, and of artists such as Joseph Beuys, Richard Serra, Cy Twombly and
Mario Merz, Szeemann developed a new form of exhibition-making that centered on close
collaborative relationships with artists and a sweeping global vision of contemporary visual
culture. He organized vast international surveys such as documenta
5; retrospectives of individual artists including Sigmar Polke, Bruce Nauman,
Wolfgang Laib, James Ensor, and Eugène Delacroix; and thematic exhibitions on such
provocative topics as utopia, disaster, and the "Plateau of Humankind." Szeemann's papers
thoroughly document his curatorial practice, including preliminary notes for many projects,
written descriptions and proposals for exhibitions, installation sketches, photographic
documentation, research files, and extensive correspondence with colleagues, artists and
collaborators.
Request Materials: Request access to the physical materials
described in this inventory through the
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Language: Collection material is primarily in
German with some material in Italian, French, English and other languages.
Biographical / Historical Note
Among the most influential art curators of his generation, Harald Szeemann (Swiss,
1933-2005) organized more than 150 exhibitions during a career that spanned almost five
decades. Szeemann studied art history, archaeology and journalism in Bern and Paris and had
a brief, but successful, theatrical career before he organized his first exhibition in 1957.
In 1961 he became one of the youngest museum directors in the world when he was appointed to
head the Kunsthalle Bern. From 1961 to 1966, Szeemann was also in charge of the exhibition
program at the Städtische Galerie Biel. Szeemann gained prominence through a lively and
experimental series of exhibitions that included early projects with Robert Rauschenberg,
Andy Warhol, James Rosenquist, and Christo. In addition to showcasing current developments
in contemporary art such as kinetic art, op art, and happenings, Szeemann also examined
areas of early twentieth-century modernism such as Dada and surrealism, including artists
such as Marcel Duchamp, Kazimir Malevich, and Vassily Kandinsky, as well as various fields
of visual culture such as Art Brut, science fiction and religious iconography.
Following his 1969 exhibition
Live in Your Head: When Attitudes
Become Form
, a sprawling and controversial international survey of postminimalism,
conceptual art, and Arte Povera, Szeemann left the Kunsthalle Bern to become an independent
curator. Calling his business the Agentur für geistige Gastarbeit, or Agency for Spiritual
Guest-Labor, a one-man enterprise relying on a group of independent partners, Szeemann
developed a new form of exhibition-making that centered on close collaborative relationships
with artists and a sweeping global vision of contemporary visual culture, aided by a
pioneering vision of fundraising. Because he traveled extensively and frequently, he was
able to integrate emerging developments from disparate parts of the world into exhibitions
that became touchstones of their time.
Taking on the organization of
documenta 5 in 1972, Szeemann
transformed the exhibition into a vast and dynamic survey of young artists from across the
world. Likewise, when asked to co-direct the Venice Biennale in 1980, the curator introduced
a new concept that became a mainstay of the Biennale: the "Aperto," an international and
multigenerational group exhibition that contrasted with the Biennale's traditional focus on
national representations. He continued to survey art-making from all parts of the world in
the biennials he later organized in Lyon, Seville, and Gwangju, as well as when he returned
to the Venice Biennale in both 1999 and 2001. Szeemann often tackled enormous themes that
cut across regions and spanned the nineteenth and twentieth centuries, with a stunningly
original approach, as in his trilogy of exhibitions
The Bachelor
Machines
(1975),
Monte Verità: The breasts of truth
(1978), and
Tendency towards the Gesamtkunstwerk (1983).
Exhibitions focused on topics such as utopia, disaster, and the "Plateau of Humankind"
offered sweeping and provocative surveys, while exhibitions such as
Visionary Switzerland (1991),
Austria in a Net of
Roses
(1996),
Blood and Honey: the Future Lies in the
Balkans
(2003) and
La Belgique Visionnaire België: C'est
arrivé près de chez nous
(2005) aimed at examining narrower topics and regions in
interdisciplinary depth. Szeemann was also active on a local level in Ticino, Switzerland,
where he organized several exhibitions and worked on various museum projects, among which
Casa Anatta on Monte Verità, devoted to the history of the early 20th-century colony of
anarchists, artists and life reformers, is to be counted among his greatest achievements.
During his collaboration with Kunsthaus Zürich (1981-2000), Szeemann became known for
producing definitive solo exhibitions, not only on contemporary artists such as Joseph
Beuys, Georg Baselitz, and Bruce Nauman, but on such cultural icons as Charles Baudelaire,
Alfred Jarry and Egon Schiele. Szeemann's mid-1980s contemporary sculpture group exhibitions
included
Traces, Sculptures and Monuments of Their Precise
Journey
(1985) and
De Sculptura (1986). He referred
to them as "poems in space," and investigated the "breathing space" between artworks and
within the exhibition venue. From the late 1980s onward, he often embarked on large-scale
projects set in historical buildings including Deichtorhallen in Hamburg, Halle Tony Garnier
in Lyon, and the Arsenale in Venice. It was the first time these locations hosted
contemporary art exhibitions.
Even when collaborating with large institutions, Szeemann relied on the same team of
independent partners for the technical aspects, believing that "only tribes survive."
Long-term friends and coworkers included his wife Ingeborg Lüscher, an artist; daughter Una
Szeemann, also an artist; son Jérôme Szeemann, who was in charge of installation; architect
Christoph Zürcher; model designer Peter Bissegger; and Josy Kraft, who was in charge of
transportation and storage.
Szeemann's parents were Julie Szeemann-Kambly (1907-2005) and Étienne Ernst Szeemann
(1904-1958), and his younger brother was Rolf Szeemann (1935-1994). His father worked in a
salon owned by Szeemann's grandfather, Étienne Szeemann (1873-1971), a successful hair
stylist during the early 20th century, who was the subject of Szeemann's exhibition
Grandfather - a pioneer like us. Szeemann married twice, the first
time to Françoise Bonnefoy (1934-) in 1959. He has three children: Jérôme (1959-) and
Valérie (1964-) from his first marriage, and Una (1975-) with Lüscher.
Szeemann began his personal archive in the late 1960s when, leaving the Kunsthalle Bern,
he decided to take a substantial part of the documentation for his exhibitions with him. The
archive grew significantly over the decades. Szeemann kept all documents and research
material related to his projects, including all correspondence sent or received. The archive
is not only a resource for the study of Szeemann's exhibitions, activities and interests,
but is also an invaluable trove of rare gallery and museum ephemera such as invitation
cards, press releases and posters from the 1960s to the 2000s. In the mid-1980s Szeemann
permanently housed the entire archive in a former watch factory in the village of Maggia, in
Ticino, which Szeemann called the "Fabbrica Rosa" or "Pink Factory." Previously it had been
scattered between his homes in Ticino, Bern, and Civitanova Marche.
The result of almost 50 years of professional activity, the archive can be considered one
of Szeemann's main achievements. Both a physical office and a tool for retrieving
information, it functioned also as an instrument of self-representation, ranging from his
high school years and theatrical experiments to his "Museum of Obsessions." The archive also
afforded Szeemann the opportunity to personally write and partially rectify the history of
his own professional life, and it is possible to trace examples of concealment through
intentional "misfiling" of exhibitions he felt were unsatisfactory. The importance the
Fabbrica Rosa played in the Szeemann's understanding of his own career is demonstrated by
the fact that Szeemann had planned to retire from exhibition-making in 2006 and focus all of
his energies on reordering this archive. Unfortunately he died unexpectedly in 2005 at the
age of 71 before realizing his plan.
Open for use by qualified researchers with the following exceptions.
Unreformatted audiovisual materials and computer files are unavailable. Contact repository
to request reformatting.
Due to privacy issues, boxes 81, 214, 224, 2409, 2418, RX and RX2 are sealed. Boxes 230-267
contain nitrate negatives and are restricted. Boxes 82, 215, and 1074B require special
handling; contact the repository regarding access. Box 2885A is restricted due to fragility;
contact the repository regarding access. Boxes 1074C and 1074D are restricted due to
fragility; contact repository to request digital imaging. Boxes B-13**, B-16**, B-43**,
B-48**, B-79**, B-81**, B-83**, B-84**, B-86**, 3741**-3743**, 3765*-3767* and TP-drawers
are housed off-site and only open for use with the curator's permission. Contact repository
regarding access. Boxes 320-321, 924, 2955-3028*, 2966**, 3716-3730, 3727*, 3748-3754,
3755*-3757*, TP59A-TP59B, TP77-TP78, and 3109* are currently only open for use with the
curator's permission. Contact the repository regarding access.
The digital files are accessible on a laptop in the Special Collections Reading Room. All
files except emails are available as a mounted disk image in a Windows environment. The
emails are on the laptop as imported PST files accessible through a Microsoft Outlook
client. Digital files containing restricted personal information such as third-party bank
account numbers or student records are restricted until 2081.
Contact
Library Reproductions
and Permissions
.
Harald Szeemann papers, 1800-2011, bulk 1949-2005, The Getty Research Institute, Los
Angeles, Accession no. 2011.M.30.
http://hdl.handle.net/10020/cifa2011m30
Acquired in 2011.
From January to June 2012, Alexis Adkins, Laura Schroffel, Medria Martin, and Emmabeth
Nanol processed and cataloged Series IV under the supervision of Andra Darlington.
Szeemann's original organization of the material was retained, and previously unfiled items
were integrated into the orginal order whenever possible. Conservation treatment for some of
the photographs was done by Mark Benson and Teresa Mesquit. Nitrate negatives were rehoused
by Adkins in consultation with Mesquit and are permanently restricted.
In 2012 and 2013, with grant funding from the National Endowment for the Humanities (NEH),
Holly Deakyne, Pietro Rigolo, Alexis Adkins, Alice Poulalion, and Melanie Tran processed and
cataloged Series I. The records were rehoused into archival containers from the boxes,
plastic cartons and ringed binders in which they were found, and the original organization
of the materials within these containers was retained. When possible, records from boxes of
unsorted or unlabeled materials were identified and added to the end of the appropriate
project files.
In 2013 and 2014, with grant funding from the NEH, Deakyne, Rigolo, Adkins, Heather
Courtney, B. Karenina Karyadi, Emmabeth Nanol, Elena Salza, Laura Schroffel, Sue Tyson,
Xiaoda Wang, and Isabella Zuralski processed and cataloged Series II. The records were
rehoused into archival containers from the wine boxes and manila folders in which they were
found, and the original organization of the materials within these containers was retained.
When possible, records from boxes of unsorted or unlabeled materials were identified and
added to the appropriate artist files.
In 2014 to 2015, Rigolo processed and cataloged Series III.
In 2014 to 2015, Lindsey Sommer processed and cataloged Series IX under the supervision of
Rigolo.
In 2015, Sommer processed and cataloged Series VIII under the supervision of Rigolo.
In 2015, Wang and Sommer processed the posters and works of art that were housed
separately in tubes and flatfiles at the Fabbrica, and incorporated them in to Series I and
Series II.
In 2015, Deakyne, Rigolo, Wang, and Judy Chou processed and cataloged Series VII. The
materials were rehoused into archival containers from the wine boxes and manila folders in
which they were found, and the original organization of the materials within these
containers was retained. When possible, materials from boxes of unsorted or unlabeled
materials were identified and added to the appropriate city.
In 2015, Sue Tyson processed and cataloged Series VI. The materials were rehoused into
archival containers from the wine boxes and manila folders in which they were found. When
possible, unsorted or unlabeled materials were identified and added to the appropriate
category.
In 2013 Shay Cornelius began processing Series V. She assessed the condition of the
audiovisual material and began an inventory. Tyson finished processing and cataloging the
bulk of the series in 2015. The audiovisual materials were rehoused into archival containers
or left in the original containers when appropriate. Wang processed and cataloged additional
materials in 2016, and the cataloging was completed by Deakyne in 2016.
The series are being processed out of order, with Series IV having been processed first,
followed by Series I, II, III, IX, VIII, VII, VI, and V. As a result, the box numbers are
non-sequential.
In 2015 and 2016 Deakyne and Wang processed Series X. Deakyne accessioned the digital
files in 2015 by forensically imaging the disk drive for preservation. She and Wang reviewed
and processed the disk image using Forensic Toolkit (FTK) in 2015 and 2016. Processing
included flagging files to be ignored, such as .tmp, thumb.db, shortcuts, zero byte files
and files with the file name [deleted]. Also flagged were email trash and spam folders. The
files were searched for personally identified information (PII) such as ID numbers, bank
account numbers, credit card numbers, and student records. Any PII from third-parties was
flagged as restricted. A new disk image containing only documents and emails and excludng
all flagged items was created for access. Email PST files were exported from this disk image
for access. Deakyne mounted the subsidiary disk image and loaded email onto a non-networked
laptop that is available for research.
Deakyne, Maggie Hughes, and Wang interfiled additional materials to all series and
enhanced description from 2015 to 2016.
Laura Schroffel deposited the disk image of Szeemann's hard drive into the digital
preservation system, Rosetta, May 2017.
Selected material from Series I. Project files and Series IV. Photographs has been
digitized is available online. Access is limited to on-site users and staff.
Connect to selected digitized material.
Due to its size, the Artist files in Series II. are described in a separate finding aid.
Click here to view the
finding aid for Series II.
Prior to the acquisition of the collection by the Getty Research Institute, some of the
materials related to Monte Verità were separated by Harald Szeemann and given to the
Fondazione Monte Verità in Ascona, Switzerland. The link to information about these
materials is at
http://www.monteverita.org/en/92/fondo-harald-szeemann.aspx . The Juan Fassio
pataphysique collection at The Getty Research Institute (930091) contains correspondence
between Fassio and Szeemann related to the exhibition
Bachelor Machines
(
Junggesellenmaschinen /
Les machines célibataires), as well
as the checklist of the show at Kunsthalle Bern.
Scope and Content of Collection
Harald Szeemann's vast archive documents his career as a visionary art curator for almost
five decades, from 1957 to 2005. Included are project files tracing the development of
numerous exhibitions and other projects, extensive correspondence with noted artists and
cultural figures throughout the world, photographic documentation of exhibitions and
artworks, video art and recorded interviews, exhibition announcements and other ephemera
from hundreds of museums and galleries, research files on a broad range of topics, a small
group of personal papers, and business records.
Series I documents Szeemann's curatorial process from conception to installation ("from
vision to nail"), including his detailed notes, installation sketches, correspondence,
building plans, exhibition announcements and checklists, wall texts, research material, and
documents related to the production of didactic material, framing, and shipping. Some
projects have files on the individual artists in the exhibition, and there is crossover with
Series II. The project files also include material related to other projects such as films,
books, texts, seminars, lectures and awards ceremonies. Also documented are exhibitions
Szeemann co-curated, for which he was a consultant, or to which he contributed writings. The
files were organized by Szeemann in chronological order. Unrealized projects have been
integrated into the series by the archivist using the earliest date mentioned in the
records.
Series II contains artist files on more than 24,000 artists. While many files contain only
one or two items, other files include artist correspondence, unique works of art, rare
posters, and limited-edition items along with exhibition announcements and press clippings.
Some exhibition records were relocated to the artist files by Szeemann, so there is
crossover with Series I. Artist files are not limited to fine artists, but also include
authors, musicians, filmmakers, and other creators. Szeemann accrued particularly extensive
files on Joseph Beuys, James Lee Byars, Gilbert Clavel, Marcel Duchamp, Mario Merz, Antonin
Artaud, and Hugo Ball. Click here for the
finding
aid
for Series II.
Series III contains Szeemann's files on and correspondence with other curators and art
world figures, including architects, gallerists, art critics, art historians,
choreographers, collectors, and photographers. Correspondence with catalog contributors and
other collaborators to his exhibitions can be found here, as well as materials on art
associations, magazines, companies, awards, publishing houses, and fairs.
Series IV contains more than 40,500 photographic prints, negatives, slides, and
transparencies. Included is extensive documentation of many of Szeemann's exhibitions and
other projects; photographs of artists with whom he worked and their individual artworks and
performances; a collection of portraits of the Monte Verità intellectual circle by
photographer Margarethe Fellerer; Szeemann's slide library, including slideshows compiled
for lectures; collections of photographs reflecting Szeemann's interdisciplinary subject
interests with a focus on cultural sites and geographic locations; and portraits and
snapshots of Szeemann and his family.
Series V comprises Szeemann's audiovisual collection of approximately 2240 items including
films and videos submitted by artists, radio and television interviews, music, photographic
and textual files regarding exhibitions or artists, and materials received from museums and
galleries. Some of the material has been separated from other series. Formats include VHS,
compact discs, vinyl records, DVDs, audiocassettes, CD-ROMs, CD-Rs, floppy disks, and film
and audiotape reels.
Series VI documents Szeemann's research interests in wide range subject areas including
fine and graphic arts; art collectors and publishing houses; dance and choreography; film,
video, and broadcast media; literature and philosophy; music; theater; countries, regions,
and cities in Europe and around the globe; people; politics, environment and society; and
assorted topics he collected under the rubric Temi (themes). Materials include clippings
from newspapers, magazines, and press bureaus; brochures and pamphlets; publications
including books, journals, and newsletters; photographic materials; postcards; drawings;
posters; theater and film programs; calendars; city guidebooks; and maps.
Series VII contains the ephemera Szeemann collected from hundreds of museums and galleries
throughout the world. He also collected ephemera from international exhibitions, festivals,
symposiums and workshops, and other events. Materials include brochures, booklets;
exhibition and institution guides; catalogs; correspondence in the form of faxes, emails,
postcards and letters; posters; price lists; ticket stubs; and city guidebooks; and, less
frequently, items such as matches; pins; shopping bags; and coasters.
Series VIII includes family correspondence; materials collected by Szeemann about
individuals in his family; materials collected by his family about his death including
obituaries and condolence letters; and objects.
Series IX reflects Szeemann's business activities and contains many years' worth of bank
statements, receipts, and other financial records created or used by Szeemann during the
course of travel or work, with a small portion covering personal family expenses, such as
tuition and house repairs.
Series X contains Szeemann's hard drive which includes his emails from Microsoft Outlook;
and other files, mostly JPG, BMP, PDF, TIF, HTM, and Microsoft Word, primarily relating to
artists and exhibitions.
The collection is arranged in ten series:
Series I. Project files;
Series II.
Artist files;
Series
III. Curator and museum professional files;
Series IV.
Photographs;
Series V.
Audiovisual;
Series VI.
Topical;
Series
VII. Gallery and museum ephemera;
Series
VIII. Personal files;
Series IX.
Business files;
Series X.
Digital files.
Johns, Jasper, 1930-
Twombly, Cy, 1928-2011
Merz, Marisa
Nauman, Bruce, 1941-
Darboven, Hanne
Nauman, Bruce, 1941-
Nitsch, Hermann, 1938-
Flavin, Dan, 1933-1996
Oldenburg, Claes, 1929-
Boltanski, Christian, 1944-
Oppenheim, Meret, 1913-1985
Buren, Daniel
Picabia, Francis, 1879-1953
Soto, Jesús Rafael, 1923-2005
Polke, Sigmar
Cragg, Tony, 1949-
De Maria, Walter, 1935-2013
Rhoades, Jason, 1965-2006
Andre, Carl, 1935-
Roth, Dieter, 1930-1998
Serra, Richard, 1938-
Ryman, Robert, 1930-2019
Brus, Günter
Rätz, Markus
Tinguely, Jean, 1925-1991
Rückriem, Ulrich
Klein, Yves,
1928-1962
Jeanne-Claude, 1935-2009
Jarry, Alfred, 1873-1907
Judd, Donald, 1928-1994
Judd, Donald, 1928-1994
Christo, 1935-
Johns, Jasper, 1930-
Long, Richard, 1945-
Klein, Yves,
1928-1962
LeWitt, Sol, 1928-2007
Kienholz, Edward,
1927-1994
Heizer, Michael, 1944-
Kunz, Emma,
1892-1963
Oppenheim, Meret, 1913-1985
Kowalski, Piotr,
1927-2004
LeWitt, Sol, 1928-2007
Roth, Dieter, 1930-1998
Laib, Wolfgang,
1950-
Jarry, Alfred, 1873-1907
Lischetti, Carlo E.,
1946-
Picabia, Francis, 1879-1953
Lijn, Liliane, 1939-
Ryman, Robert, 1930-2019
Bode, Arnold, 1900-1977
Long, Richard, 1945-
Schwitters, Kurt, 1887-1948
Medalla, David,
1942-
Spoerri, Daniel, 1930-
Martin, Etienne,
1913-1995
Tuttle, Richard, 1941-
West, Franz, 1947-2012
Schulthess, Armand
Wölfli, Adolf, 1864-1930
Warhol, Andy, 1928-1987
Warhol, Andy, 1928-1987
Szeemann, Harald
Serra, Richard, 1938-
Nitsch, Hermann, 1938-
Schwitters, Kurt, 1887-1948
Oldenburg, Claes, 1929-
Schulthess, Armand
Polke, Sigmar
Spitzer, Serge,
1951-2012
Rätz, Markus
Soto, Jesús Rafael, 1923-2005
Kowalski, Piotr,
1927-2004
Sonnier, Keith, 1941-
Kienholz, Edward,
1927-1994
Tinguely, Jean, 1925-1991
Vautier, Ben, 1935-
Szeemann, Harald
Toroni, Niele, 1937-
Sonnier, Keith, 1941-
Spoerri, Daniel, 1930-
Laib, Wolfgang,
1950-
Vautier, Ben, 1935-
Twombly, Cy, 1928-2011
Tuttle, Richard, 1941-
Toroni, Niele, 1937-
Duchamp, Marcel, 1887-1968
Lijn, Liliane, 1939-
De Maria, Walter, 1935-2013
Distel, Herbert
Medalla, David,
1942-
Darboven, Hanne
De Domizio Durini,
Lucrezia
Lischetti, Carlo E.,
1946-
Heizer, Michael, 1944-
Flavin, Dan, 1933-1996
Duchamp, Marcel, 1887-1968
Ensor, James, 1860-1949
West, Franz, 1947-2012
Bode, Arnold, 1900-1977
Spitzer, Serge,
1951-2012
Wölfli, Adolf, 1864-1930
Merz, Marisa
Andre, Carl, 1935-
Rhoades, Jason, 1965-2006
Cragg, Tony, 1949-
Rückriem, Ulrich
Christo, 1935-
Jeanne-Claude, 1935-2009
Martin, Etienne,
1913-1995
Kunz, Emma,
1892-1963
Buren, Daniel
De Domizio Durini,
Lucrezia
Brus, Günter
Distel, Herbert
Boltanski, Christian, 1944-
Ensor, James, 1860-1949
Documenta (Exhibition)
Festival internazionale del film di
Locarno
Festival internazionale del film di
Locarno
Documenta (Exhibition)
Biennale di Venezia
Biennale di Venezia
Installations (Art)
Artists -- Correspondence
Happening (Art)
Mail art
Monte Verità (Artists' colony)
Monte Verità (Artists' colony)
Mail art
Performance art
Museum curators -- Correspondence
Artists -- Correspondence
Fluxus (Group of artists)
Art, Modern -- 20th century
Art, Modern -- 20th century
Museum curators -- Correspondence
Arte povera
Art museum curators
Performance art
Art museum curators
Installations (Art)
Fluxus (Group of artists)
Earthworks (Art)
Conceptual Art
Happening (Art)
Earthworks (Art)
Arte povera
Conceptual Art
Cellulose nitrate film
Black-and-white negatives
Color negatives
Postcards
Color transparencies
Black-and-white negatives
Ephemera -- 20th century
Gelatin silver prints -- 20th century
Postcards
Ephemera -- 20th century
Color photographs
Gelatin silver prints -- 20th century
Color transparencies
CD-Rs
Color slides -- 20th century
Color slides -- 20th century
Color photographs
Color negatives
Cellulose nitrate film
CD-Rs
Merola, Andrea
Merz, Mario
Mühl, Otto
Merz, Mario
Rabinowitch, Royden, 1943-
Beuys, Joseph
Mühl, Otto
Lüscher, Ingeborg, 1936-
Wehrmann, Erhard,
1930-2004
Fellerer, Margarethe, 1886-1961
Sattmann, Didi,
1951-
Rabinowitch, Royden, 1943-
Rätz, Markus
Shunk, Harry
Byars, James Lee
Szeemann, Harald
Shunk, Harry
Sattmann, Didi,
1951-
Hellgroth, Brigitte
Merola, Andrea
Eggmann, Verena
Eggmann, Verena
Beeren, W. A. L. (Willem A.
L.)
Dräyer, Walter,
1911-
Gaechter & Clausen
Burkhard,
Balthasar
Bezzola, Leonardo
Boersma, Pieter
Hellgroth, Brigitte
Wehrmann, Erhard,
1930-2004
Gaechter & Clausen
Cotton, Paul,
1939-
Geluwe, Johan van,
1929-
Szeemann, Harald
Dräyer, Walter,
1911-
Fellerer, Margarethe, 1886-1961
Boersma, Pieter
Bezzola, Leonardo
Beuys, Joseph
Lüscher, Ingeborg, 1936-
Beeren, W. A. L. (Willem A.
L.)
Cotton, Paul,
1939-
Geluwe, Johan van,
1929-
Byars, James Lee
Burkhard,
Balthasar
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