Installation View, Here comes trouble, Spencer Brownstone Gallery, NYC, 2019
Courtesy of the artists and Spencer Brownstone Gallery. Photo credit: Daniel Greer
One Love or Another, 2018
88 x 78 inch, vinyl, acrylic, gesso on canvas
Fly, 2018
96 x 68 inch, vinyl, acrylic and gesso on canvas
Sunset, 2018
96 x 68 inch, vinyl, acrylic and gesso on canvas
4 Apples
21 x 20 inch, vinyl, acrylic and gesso on canvas
Happy Nein
21 x 20 inch, vinyl, acrylic and gesso on canvas
Almost a Million
72 x 60 inch, vinyl, acrylic and gesso on canvas
Kaküsse
54 x 48 inch, vinyl, acrylic and gesso on canvas
Rainbow
30 x 60 inch, vinyl, acrylic and gesso on canvas
Installation View, Phase Patterns, ltd los angeles, object: Jason Meadows,
Courtesy of the artists and ltd los angeles. Photo credit: Blake Jacobsen
Installation View, Phase Patterns, ltd los angeles,
Courtesy of the artists and ltd los angeles. Photo credit: Blake Jacobsen
Installation View, Phase Patterns, ltd los angeles, object: Jason Meadows,
Courtesy of the artists and ltd los angeles. Photo credit: Blake Jacobsen
Tomato Potato, 2018
40 x 30 inch, vinyl, acrylic, gesso on canvas
10 damn Melons
96 x 88 inch, vinyl, acrylic, gesso on canvas
Cloud in my Coffee
72 x 60 inch, vinyl, acrylic, gesso on canvas
My love
21 x 20 inch, vinyl, acrylic, gesso on canvas
Double
16 x 20 inch, vinyl, acrylic, gesso on canvas
Hello + Goodbye
21 x 20 inch, vinyl, acrylic, gesso on canvas
Wipe
88 x 64 inch, vinyl, acrylic, gesso on canvas
Installation View, Thesis Show, Hunter College Gallery, 2018
Installation View, Thesis Show, Hunter College Gallery, 2018
Flag, 2018
96 x 68"., vinyl, acrylic, gesso on canvas
God,- ,2018
96 x 68 in., vinyl, acrylic, gesso on canvas.
We, 2018
36 x 24", vinyl, acrylic, gesso on canvas
No1, 2018
13 x 12", vinyl, acrylic, gesso on linen
False Fire Alarm, 2018
78 x 108", vinyl, gesso on canvas
Page, 2018
96 x 68", vinyl, acrylic, gesso on canvas
Life On a Coffeebreak, 2018
88 x 64", vinyl, acrylic, gesso on canvas
Ppparty, 2018
54 x 40", vinyl, acrylic, gesso on canvas
Who, 2018
20 x 21", vinyl, acrylic, crayon on canvas
Pampelmusen, 2018
36 x 24", vinyl, acrylic, gesso on canvas
Garten, 2018
48 x 36", vinyl, acrylic, gesso on canvas
Despite, 2018
78 x 88", vinyl, acrylic, gesso on canvas
Days and Nights, 2018
68 x 86", vinyl, acrylic, gesso on canvas
When I gave up, 2018
48 x 36", vinyl, acrylic, gesso on canvas
Yesterday, 2018
36 x 24", vinyl, gesso on canvas
Arschpainting, 2018
86 x 68", vinyl, acrylic, gesso on canvas
installation views, Maldonado Projects, NYC, 2017
wallpainting #2
installation at Matjö/ BBK Köln, 2016
Sontagsbar with Björn Meyer-Ebrecht and Dirk Hildbrandt (Art Historian Institute Frankfurt/M), Matjö/ BBK, 2017
What I love is, spring out of bed in the morning, watching snow falling on a winter day.
I want art to be resistent to verbalize, its territory where words cannot reach. As a void is such a condition. I see art. It's a container that holds an empty state of mind.
I do what I love. Jumping in the void is one of them. All I can see is beginnings. I always start out of blankness in which I inscribe, mostly in paint. A layered dialectic movement in stillness that paths to the core. Who s there?
Nothing is a thing. In my process the furthest concentration of thoughts paired with the maximization of my minimalist sensibility; I need to follow an unnameable and improvised stream of thought and feeling. Fascinating, that reduction and introversion can lead to expansion.
I concretize dialogues I believe in. An inner listening via reduction calling out the last drop. What is truth though it is all open? The image comes immediately but reveals slowly. Good, there's no way to saying that right, just a set of values about lightness in accepting shifting awareness as a state of human wisdom and self connection —Great things can be quiet. Or, little.
When suddenly a cat appears and a bird escapes up in the sky,— I sit with a cappucchino.
I'm hier, 2016
84 x 72", acrylic, gessoed ground on canvas
this dream, 2016
96 x 68", acrylic, gesso, crayon on canvas
it's missing, 2016
84 x 72", acrylic, crayon in gessoed ground on canvas
night falls, 2016
108 x 78", acrylic on gessoed ground
installation, Hunter College, NYC, 2016
close up, 2016
31 x 26 1/2", acrylic on canvas
wave, 2016
21 x 20", acrylic, vinyl on canvas
how dare you, 2016
40 x 30", acrylic on canvas
set up, 2017
wall: gazetta, acrylic on canvas, 7 x 8F, 2016/ floor: "what can I say?", 20 x 20 x 40cm, wood, 2015
1998, 2016
6 x 7F, diverse material on canvas
untitled, 2015
54 x 60", diverse material on canvas
set up, Juni 2015
strawberry painting1, 2016
Acrylic on canvas, 54 x 40"
SETUP April 2016
untitled, 2016
piled wax discs, paraffin died with wax crayons, d:30cm, h: 2m
untitled, 2016
walk, 2015
mars etc., 2015
wax died with wax crayons, dimensions variable, d: 10 3/8"
field #3, 2015
diverse material on canvas, 80 x 96"
field #2, 2015
acrylic on canvas, 80 x 64"
New Mexico, 2015
diverse material on canvas, left: 8 x 10", right: 54 x 40"
4/4, 2015
wax casts
Cy Twombly is dead., 1,3 x 1m, 2012
marfa, 2015
woolselection, 1/2015, 2015
table with selected wool balls I chose to bring from Cologne/Germany to New York.
, 2015
legpresentation, 2015
activator I, 2015
The Nomination, 2015
materials: 13 nails and pins, 13 woolen threads
13 nails and pins (out of 20 or more) have been chosen. They were left overs from pictures I deinstalled moving into my new sublet. The nomination has been taken place once a day within 14 days.
eameswallpanel, permanent installation at home, since 2014
Bored by Buren, 2014/5
materials: Ikea-fabrics, Ikea cushion
1. curtain with cut out
2. cushion with hand made sewed cover (out of the cut out piece)
3. curtain covering the doorway, for clarifying space
http://blog.staedelmuseum.de/gegenwartskunst/wenn-kleider-kunst-machen-aufruf-zur-blogparade
hotel sol
Visiting Archi da un angelo, #699, at the entrance hall of Albornoz Hotel, Spoleto/Umbria in Italy.
I was wearing my favorite t-shirt at that time.
1/12 fotos taken, 2014
the white sun
2013/14
The White Sun (1981) by Sol LeWitt is a permanent wallpanel situated in a small village next to Cancelli in the hills of Umbria/ Italy. The photo was taken in summer 2013, 32 years after its installement and restored virtually at nighttime.
rug#2, for Prospect Park, Brooklyn 2013
dyed t-shirts, 5 x 22 x 64 inches
The rug is made of recycled white t-shirts, which have been dyed in pen-ink.
rug#2
Helpers, Brooklyn, 2014
the rug is going to be shown in several places ongoing. By time it will get more and more dirty.
Here, inside the showroom is a poster which pictures the image of the rug placed in Prospect Park before. The viewer looking through the frontstore inside sees the documentary of the place before and the present situation outside in once.
dyed t-shirts, 5 x 22 x 64 inches
NYdoor
Zusi Graham, Cologne, 2013
wallpanel: acrylic on wall, 84 x 34 inches
cmyk-shelf-system
Autocenter, Berlin, 2013
4 boards painted in the 4 CMYK-colors are installed in 4 shelfs of a 40 pieces wallunit, which is permanent installed in the showroom of Autocenter, Berlin.
wallunit: 240 x 3600 x 45cm; each shelf: 240 x 91 x 45cm; each colored board: 55 x 86,7cm, acrylic on woodpanel
stool
NYC, 2013
The stool was made by Sam Stewart. It ́s a copy of a 200 year old stool.
The floor drawing is a rethinking about that process. It can be repeated on different floors. It is flexible in its numbers of parts. You can step on the stool to get an overview of the drawing below.
multipiece floor-drawing, chalk on wooden floor, circle: d:17 inches , stool: 17 x 17 x 19 inches
such things
permanent installation, Helper project space, Brooklyn, 2013
The drawing is situated about as high as a wall advertisement.
each square: 22 x 22 inches/ laquer on brickwall
such ghost
helpers project space, 2014
observed light reflexes
To Blinky Palermo and the people of New York City
This series of painting is the result of trying to copy the image "Flipper" (1965) by the German artist Blinky Palermo. From the start I chose to give it 5 attempts. The empty space between work 2 and 3 is left free for the original, which I couldn ́t reach. About the title: In the years 1973-75 Palermo maintained a studio in New York City. After his return to Germany he created one of his most significant cycles of paintings " To the people of New York City", which was also his last completed work before his sudden death in 1977.
each panel: 90 x 50cm, allover: 90 x 520cm/ acrylic on canvas or woodpanel, 2013
the sublime is now, i-version
dyed cushions (IKEA), 53 x 117 x 58cm, 2012
that´s the box of the `Rupprecht - Geiger - poster´.
box with six folded sweatshirts: 32 x 23 x 38cm, 2012
you talk too much
The cycle refers to Ellsworth Kelly, who prefers looking at paintings to talking about further explaining them. I also refer
to the RUN/DMC song of the same title.
eight plates, each: 70x 50cm, spray paint on woodpanel, 2012
one
70 x 50cm, spray paint on woodpanel, 2012
twins
two plates, each: 70 x 50cm, spray paint on woodpanel, 2012
2 is a couple
m= 50cm, spraypaint, crayon on wood, 2012
No.1
340 x 280cm, acrylic and spray paint on canvas, 2012
Marilyn
50 x 50cm, spray paint on woodpanel, 2011
Frank Stella said...something
165 x 190cm; vinyl, acryl on canvas; 2012
2 minimal for title
155 x 180cm, vinyl,acryl on canvas, 2012
99 Cans
Art Historical Institut, Bonn, 2011
99 Cans has been developed for the entrance hall of the Art Historical Institut Bonn, also, it relates to the silkreen "100 Cans" by Andy Warhol. In addition, this installation deals with the architectural requirements of this particular space, in consideration of its significance as an Art Historical Institute.
multipart room installation: floor: 49 plates, batten construction below/ wall: framed drawing
floor: allover, 2,5 x 490 x 350cm/ spraypaint, acrylic on canvas, woodpanel
wall: crayon on tracing paper
Byzantine and Ottoman
Kunstverein SUSI, Istanbul, 2011
two-piece wall painting, 100 x 300cm, 50 x 40cm/ spray paint on wall
In Istanbul the circle-shape is found as well in Byzantine as in Ottoman painting and architecture. But while in Byzantine there are mostly series of three circles standing next to each other in a line and mainly used for representing the figure of nimbus. Ottoman created almost exclusively patterns of circles where many shapes are strung together in a grid.
—does it work?
installation, project space of the Motorenhalle, Dresden, 2011
floor: chalk drawing, fully covering the floor, about 100qm /wall: 9-piece series of grafics: fotocopy on paper, framed
This work questions whether holy geometry and numerology is working.
A freely-modified reinvented traditional ornament, which is found in many ancient cultures meets the so-called numerologists "number of solutions".
My work relates to American Minimalism, including Hard-edge and Color Field painting. In some specific aspects I also draw from American Pop Art - Andy Warhol`s many silkscreen series in particular.
As a German artist, I find the American way of making art, beginning with the New York school onward, very different and interesting in general. I feel attached to the appeal of lightness this works offers, while it at the same time remains very concrete, as Minimal and Hard-edge painting does. Pop art also embodies these qualities.
Although it is already fifty years since the first works of Stella, Judd, Martin, Kelly, Bochner and others have been exhibited, I find Minimalism still contemporary when considered in terms of today. It presents art as an autonomous space and engages with a certain way of openminded perception. Also, it concerns economical and ecological aspects - The major factors of today, which define the global development. But for me, as an artist coming from an European background, the most important fact of Minimal can be found in the question:
How can something so simple and little -indeed- become so much and so strong?
From here, my artwork starts. Once within it, I am trying to understand art. I do not follow a straight logical path, but have a route: a process motivated by playfulness and intuition but also based on a clear concept, every artwork I do has, is my way of creating. I think my natural style of working adapts well to the kind of phenomenal, incomprehensible but also plain and solid impact American Minimalism has to me.
CV
education
education
2018-2015 M.F.A. Hunter College, New York, NY
2008-2003 Diploma Kunstakademie Düsseldorf, Germany, Class Prof. Tal R
grants
Kossak Travel Grant, 2015
shows (selected)
solo and duo presentations
2019 Mini Me Mary, Jule Korneffel in conversation with Mary Heilmann, Albada Jelgersma, Amsterdam, NL
2019 Here comes trouble, Spencer Brownstone Gallery, New York, NY
2019 Phase Patterns, with Jason Meadows, ltd los angeles, Los Angeles, CA
2017 but what about me, with Manual Angeja, Maldonado Projects, NYC
2017 again interpretation, with Bjoern Meyer-Ebrecht, Matjö/ general association of the artists of fine arts, Köln
2015 Cats And Dogs, Kleppart, University of Paderborn/Germany (with Alfons Knogl)
2012 Two Shot, Boutique - space for temporary art, Cologne/Germany (with Katinka Theis)
2011 5 Minutes de Meta de la Jule Korneffel, Art Historical Institute Bonn/Germany
2011 Play/Pause, Runde Ecke, projectspace of the Motorenhalle, Dresden/Germany (with Stefan Lenke)
2010 Zeit3 - Lapidar, Gallery Niels Dietrich, Cologne/Germany
group shows
2018 If I go there, I won't stay, ltd los angeles, Los Angeles, CA
2018 Interstitial. Hunter College Art Gallery, New York, NY
2018 Super Model Nein, Unisex Salon, Brooklyn, NY
2017 sound performance with Jess Willa Wheaton, Hercules Art Studio program
2016 common room, Lesley Heller Gallery, NY
2015 Singing Material, Zusi Graham at Tyson, Cologne/Germany
2015 inaugural show, curb gallery, NYC
2015 Pop up, 485 Lorimer project space, Williamsburg/ NYC
2014 for "a certain object", Glashaus/ Worringer Platz, Duesseldorf
2014 Domain of a partial function, Helpers, Brooklyn/ NYC
2013 Do you wanna be loved, Ferro Strouse Gallery, NYC
2013 Opening Show, Zusi Graham, Cologne/Germany
2013 Summerworks, presentationshow with Ned Vena, Autocenter, Berlin
2013 Porcher, Helpers, Brooklyn/ NYC
2013 The object layer, Glasmoog, Cologne/Germany
2011 The Istanbul Issue #1, SUSI, Istanbul/ Turkey
2011 Über den Geist in der Materie, Glasmoog, Cologne/Germany
2010 Teardrops etc., Strzelecki Books, magazine release, Kölnischer Kunstverein, Cologne
2010 A Busy Day, SOX, Berlin/Germany
2009 Die Liebe Bleibt, Doppelde, projectspace of contempary Art, Dresden/Germany
sweater
since 2011 sweater jule korneffel
julekorneffel.tumblr.com/
http://blog.staedelmuseum.de/gegenwartskunst/wenn-kleider-kunst-machen-aufruf-zur-blogparade
lectures
2019 Walkthrough, Cooper Union, Precollege education, Here comes trouble, Spencer Brownstone, NY, NY
2019 Walkthrough with Terry R., Myers, Phase Patterns, ltd los angeles, Los Angeles, CA
2017 textures, ladies art nyc, new woman space
2017 against interpretation, with Björn Meyer-Ebrecht and Dirk Hildbrandt (Art Historian Institute, Fran kfurt/M)
2011 Sometimes I think, sometimes I don't, artist talk with Dirk Hildebrandt, Eikones Basel, 2011
artist residencies/scholarships
2013 Summerworkshop with Ned Vena, Autocenter Berlin, 2013
2013 (August-September) Manufatto In Situ7, Folignio, Italy
since 2008 studio-scholarship of the culture-department of the city of Cologne/Germany
curating
2018 Everyone Come, BOS/ studio space, Brooklyn/ NYC
2014 Domain of a partial function, Helpers, Brooklyn/NYC (with Sam Stewart)
2013 Zusi Graham opening show, projectspace located in Kölnischer Kunstverein, Cologne/Germany (with Alfons Knogl)
2010 Zeit1, Zeit2, Zeit3, situated in divers artspaces, Cologne/Germany
2010 Société des fenetres, collaboration with "Passagen", situated in divers artspaces, Cologne/Germany
projects
2013 Merkxs and Gwynne presents, Nada, NYC
since 2009 SUSI/ Zusi Graham– artproject with Alfons Knogl, Cologne/Germany funded by the Cultural Department of the city of Cologne/Germany
publication
cmyk-shelf system, artist book, 2014
the white sun, artist book, 2014
Calendar 2011, Artist-book, 24 pages, 2011
Press/ Publishing
expected: Book Release, Form Your Character - women artists interviews, Hammann von Mier Publishing, Munich/Germany
cmyk-shelf system, artist book, 2014
2019 https://hyperallergic.com/491181/jule-korneffel-here-comes-trouble-spencer-brownstone-gallery/
2019 https://artefuse.com/2019/04/10/jule-korneffels-here-comes-trouble-at-spencer-brownstone/
2019 https://artefuse.com/2019/02/09/interview-with-artist-jule-korneffel/
2018 Hyperallergic; https://hyperallergic.com/444514/hunter-college-2018-mfa-thesis-exhibition/
2017 Studio Art Magazine Vol.40
2017 100days100women Blog; http://100days100women.wordpress.com
2017 John Harten. Public Folder Revolver Publishing, Berlin, Germany
2017 Huffington Post; https://www.huffingtonpost.com/entry/58ff971ae4b0938fb73e95ee, May 09
2013 Frankfurter Allgemeine Zeitung, http://www.faz.net/aktuell/feuilleton/kunstmarkt/galerien/galerieeroeff- nung-in-koeln-alles-bleibt-anders-12535206.html?GEPC=s5, Aug 18
2011 Trenddesign. Volume 1 & 2, Publishing House of Kunsthochschule für Medien Köln, Germany
2011 Teardrops etc. Strzelecki Books, Cologne, Germany
teaching
2015 University of Paderborn, Dep. Art & Textile, " Minimal Mode - Less is more"
travelling
2013 (Sept-Dec), New York City
2013 (May-June) New York City, collaboration with Helpersproject, Brooklyn NYC
2013 (Jan) Yucatan, Mexico
2011 (May-June) Istanbul, collaboration with Goethe Institute, Istanbul/Turkey