Frith Street Gallery

• THE MODERN DANCE ~ Martin Herbert

  Published in Kaleidoscope, November 2009

• Thomas Schütte: Haus der Kunst, Munich, Germany ~ Quinn Latimer

  Published in Frieze, October 2009

  [Thomas Schütte] has long pursued a multivalent practice that – though it grew of the Minimalism and Conceptualism of the early 1970s Dusseldorf, where Schütte studied under Gerhard Richter and Benjamin Buchloh – has spoken mostly to itself. That conversation, broaching biggies like power, modernity and monument-making, carries forth with an internal humour that the viewer readily identifies but cannot entirely understand. Obscure or not, it’s this humour – dry, dark, a bit jumpy – that ties together Schütte’s wide-ranging oeuvre.

• Fake/Function Thomas Schutte: Early Work ~ Teresa Gleadowe

  Published in Art Monthly, 1 December 2007

  ‘Fake/Function’ demonstrates Schutte’s exceptional ability to anticipate the conditions of the spaces in which his work will be seen and to incorporate those conditions into his work. It reminds us of his early preoccupation with the framework of the museum. The exhibition makes us conscious of how this mastery of context informs so much of Schutte’s subsequent work, from the celebrated commissions for Munster to the present sculpture for the Fourth Plinth in Trafalgar Square.

  http://findarticles.com/p/articles/mi_6735/is_/ai_n28471108

• Thomas Schutte: "I would play piano if I could..." ~ Melissa Gronlund

  Published in ArtReview, December 2007 ( Issue 17 )

  Though Schütte rejected the idioms of Düsseldorf, he has retained its belief that art should bear a social conscience, and he has frequently addressed both recent German history and current concerns. At Documenta in 1992 Schütte showed Die Fremden (The Foreigners), ceramic lifesize figures shaped like lumpen vases, with downcast eyes and assorted luggage, which were placed around the German city of Kassel. The strike at debates about ‘Germanness’ was unmistakable, but the figures themselves were fragile, sad things, which looked as if the political message they carried had been forced upon them, much as a train delay, discrimination or change in immigration laws might be. Their bottom halves were shaped like urns, and they resembled legless ‘little people’ toy dolls – a meeting point of Schütte’s imagination and political realities.

  http://www.artreview.com/profiles/blog/show?id=1474022%3ABlogPost%3A5614

• Art Forum Best of 2007 ~ Lynne Cook

  Published in Art Forum, December 2007

• THOMAS SCHüTTE - EARLY WORKS AT THE HENRY MOORE INSTITUTE, LEEDS ~ Gareth Buckell

  Published in 24 Hour Museum, 9 October 2007

  Gathering acclaim even before he graduated, Schütte’s Academy work launched a glorious career encompassing numerous exhibitions worldwide, a commission for Trafalgar Square’s famous Fourth Plinth and the Golden Lion award at the 2005 Venice Biennale.

  http://www.24hourmuseum.org.uk/exh_gfx_en/ART51305.html

• Thomas Schütte ~ Robert Clark

  Published in The Guide, September 2007

• Thomas Schütte ~ Gilda Williams

  Published in Art Forum, September 2007

• Thomas Schutte at Marian Goodman ~ Eleanor Heartney

  Published in Art in America, November 2005

  Schutte’s model dwellings--which embody a longstanding interest in functional design that was first expressed in his work in the early 1980s--are compact and practical, but not constricting: they open out and up. In one instance, the cylindrical element becomes a basement or foundation; in another, it’s a skylight; in yet another, it creates a portal-like window on the side.

  http://findarticles.com/p/articles/mi_m1248/is_/ai_n15860928

• Eccentric Spaces ~ Jonathan Jones

  Published in Guardian, 4 April 2005

  http://www.guardian.co.uk/culture/2005/apr/04/1

  Related Exhibitions: Eccentric Spaces

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