BiographyThe Intermedia Program in the School of Art and Art History at the University of Iowa was created by Hans Breder in 1968 and directed by him until 2000. From its inception, the Intermedia Program coalesced around several concepts. But to understand the program, the first of its kind to grant the MFA, one must understand Breder as "auteur."
Breder, trained as a painter in Hamburg, Germany found early success in New York City with his constructivist aligned sculptures. Lured to The University of Iowa's School of Art and Art History in 1966, Breder first conceived of the Intermedia Program as an arena in which he and his students could explore, in theory and in practice, the liminal spaces between the arts: art, music, film, dance, theater, poetry. Aware that he was making art in an intellectual environment, Breder in the second and third decade of the Intermedia Program extended his collaborative reach to the liberal arts: comparative literature, anthropology, psychology, communication studies. The exploration of liminal space and a collaborative approach to aesthetic theory and practice were essential to Breder?s conception of Intermedia, efforts to utilize the diverse artistic and intellectual community in Iowa City. Also key to his notion of Intermedia was the recognition that to develop the experimental arts in an entirely rural environment, an active visiting artists program was necessary. One of Breder's first visiting artist was Robert Wilson, who developed Deafman Glance in Iowa City in 1970. Breder's European sensibility ensured an internationalist perspective both in the visiting artist program and the curriculum in general.
For over three decades, the Intermedia Program at The University of Iowa offered courses which explored liminal spaces, boundaries between artistic and scholarly practices, between media, between genres, between social and political universes, between viewer and artist. During this time, students of the program interacted with a diverse roster of visiting artists, and traveled with Breder to Mexico, Italy, The Netherlands, Germany, creating time-based works, performances, rituals, events, site-specific installations, etc., a dynamic environment in which process was always emphasized over product.
Over the last thirty years Breder has worked with distinction in and between a number of media: painting, sculpture, photography, performance, video and electro-acoustic media: his media work, for example, was included in the Whitney Biennials in 1987,1989, and 1991; " '68 - Kunst und Kultur," Bauhaus Dessau, Dessau, Germany; The First Group Exhibition of American Art in Moscow, 1989; The 3rd Fukui International Video Biennale, Japan, 1989; 2nd Videonale, Bonn, Germany, 1986; International Architecture Exhibition, Technische Universität, Berlin, Germany, 1884; The Kitchen, Center for Video And Music, New York, New York,1975; "Kineticism: System Sculpture in Environmental Situations" (Cultural Olympiad), Museo Universitario de Ciencias y Arte, Mexico City, 1968; Collections include Cleveland Museum, Cleveland, Ohio; Hirshhorn Museum and Sculpture Graden, Washington, D.C.; The Museum of Modern Art, New York, New York; The Whitney Museum of American Art, New York, New York. His work is represented by the Mitchell Algus, New York and Hachmeister Gallerie, Muenster, Germany.
1935born in Herford, Germany
1960-64Study of Painting with Willem Grimm, Hochschule für Bildende Künste, Hamburg, Germany
1965Apprentice to the sculptor George Rickey, West Lebanon, New York
1968founded Intermedia and Video Art Program, School of Art and Art History, The University of Iowa, Iowa City, Iowa
Emeritus F. Wendell Miller Distinguished Professor of Art, School of Art and Art History, The University of Iowa, Iowa City, Iowa
Exhibitions (selected)
1965International Artists' Seminar, Fairleigh Dickinson University, New Jersey
Riverside Museum, New York
1966American Painting and Sculpture, Midland Group Gallery, Nottingham, Great Britain
As Found, Institute of Contemporary Art, Boston
Plastica Galeria de Arte, Buenos Aires, Argentina
1967Richard Feigen Gallery, New York (one-artist exhibition)
Richard Feigen Gallery, Chicago (one-artist exhibition)
Exhibition of Recent Acquisitions, The Whitney Museum of American Art, New York
1968Kineticism: System Sculpture in Environmental Situations (Cultural Olympiad), Museo Universitario de Ciencias y Arte, Mexico City
Directions 1: Options, Museum of Contemporary Art, Chicago, Illinois
1969Superlimited: Books, Boxes and Things, The Jewish Museum, New York
Big New Works, Richard Feigen Gallery, New York
Affect/Effect, La Jolla Museum of Art, La Jolla, California
1970Richard Feigen Gallery, New York (one-artist exhibition)
Richard Feigen Gallery, Chicago (one-artist exhibition)
1972Galerie Marcel Liatowisch, Basle, Switzerland (one-artist exhibition)
Hybrids, Max Hutchinson Gallery, New York
1975Video and Film Works 1971-1975, The Kitchen, Center for Video and Music, New York
1977Signals, The Museum of Modern Art, New York
1979Wolfgang Förster Galerie, Muenster, Germany (one-artist exhibition)
1980Plakat Aktion, Gestaltreform M. Schuhl KG, Frankfurt, Germany
Video Sculpture, First Intermedia Festival, New York
1981Hachmeister & Schnake Galerie, Muenster, Germany (one-artist exhibition)
1983The Institute for Art and Urban Resources, Inc., P.S.1, Long Island City, New York
1984Anti-City, International Architecture Exhibition, Technische Universität Berlin, Germany
Portraits of the Urban Poor, Oacaca, Mexico; Anthology Film Archives, New York; The Museum of Modern Art, New York
Video Works 1982-84, Time Based Arts, Amsterdam, The Netherlands
1986My TV Dictionary, 2nd Videonale, Bonn, Germany
Ursonate 1986, Video and Language: Video as Language, Los Angeles Contemporary Exhibitions, Los Angeles, California
1987My TV Dictionary, Whitney Biennial Exhibition, Whitney Museum of American Art, New York
Terrorising the Code - Recent US Video, The Australian Centre for Photography, Sydney
The Fine Arts Center Art Gallery, State University of New York at Stony Brook, New York (one-artist exhibition)
Schreiber/Cutler, Inc., New York (one-artist exhibition)
1988Hachmeister Galerie, Muenster, Germany (one-artist exhibition)
1989Painting Beyond the Death of Painting: Imaginistic and Abstract Work, First Group Exhibition of American Art
in the Soviet Union, Kuznetzky Most Exhibition Hall, Moscow
Under a Malicious Sky, Whitney Biennial Exhibition, Whitney Museum of American Art, New York;
The 3rd Fukui International Video Biennale, Japan
Schreiber/Cutler, Inc., New York (one-artist exhibition)
1990Ruth Siegel Gallery, New York (one-artist exhibition)
1991From Here and There Too: Moscow Postcards 1989, Whitney Biennial Exhibition, Whitney Museum of American Art, New York
Hachmeister Galerie, Muenster, Germany (one-artist exhibition)
1993Penine Hart Gallery, New York (one-artist exhibition)
'68 - Kunst und Kultur, Bauhaus Dessau, Dessau, Germany
1995Hachmeister Galerie, Muenster, Germany (one-artist exhibition)
1996Billboards for Democracy, Hunter College of the City University of New York, New York
1997Short Cuts: Anschlüsse an den Körper, Deutsche Arbeitsschutzausstellung, Dortmund, Germany
1998Point of Reference, The International Association for Philosophy and Literature, UC Irvine, California
1999The Nazi-Loop, Contact Zones: The Art of the CD-ROM, Centro de la Imagen, Mexico City; Dallas Video Festival 1999;
Virginia Film Festival, Charlottesville, Virginia
Hachmeister Galerie, Muenster, Germany (one-artist exhibition)
2000Body/Sculpture, The Armory Show 2000, The International Fair of New York, New York
Mass in A-Minor for Suitcases, St. Petri Kirche, Dortmund, Germany
2001Mitchell Algus Gallery, New York (one-artist exhibition)
2002Body/Sculpture, The Armory Show 2002, The International Fair of New York, New York
Enacting the Liminal: Intermedia/Works 1964-2002, The University of Iowa, Museum of Art, Iowa City, Iowa (one-artist exhibition)
Bibliography (selected)
1967Lil Picard, Four Directions, in: Das Kunstwerk, February
1968George Rickey, Constructivist-Origins and Evolution, New York: George Braziller
Jack Burnham, Beyond Modern Sculpture, New York: George Braziller
Lawrence Alloway, Interfaces and Options-Participatory Art in Milwaukee and Chicago, in: Arts Magazine, September
1970Rolf-Gunter Dienst, Deutsche Kunst: Eine Neue Generation, Cologne, Germany: M. DuMont
1973Michael Kirby, Hybrids, in: The Drama Review, June
Gregory Battcock, Explorations in Video, in: Art and Artists, February
1974Norman Laliberte and Alex Mogelon, Art in Boxes, New York: Van Nostrand Reinhold
1979Hans Breder and Stephen Foster, Intermedia, The University of Iowa, Iowa City, Iowa
David Mover, Through the Looking Glass and What the Artist Found There, in: Art International, September
1983Ann-Sargent Wooster, Portrait of Rosa, in: Afterimage, January
1985Stephen Foster and Estera Milman, The Media as Medium: Hans Breder's Berlin Work, in: Kansas Quarterly, Vol. 17, No. 3
1987Helen A. Harrison, Diagrammatic Drawings Explore Duality of Nature, in: The New York Times, February 22
1988Herman Rapaport, Hans Breder and the Auras of Video, in: Art Criticism, Vol. 4, No. 1
Hans Breder, Ana Mendieta: Imprints/Student Years 1972-1977, in: Sulfur, Vol. 22, Eastern Michigan University, Ypsillanti
Donald Kuspit, New York Reviews, in: Artforum, May
Gerrit Henry, Review of Exhibitions, in: Art in America, January
1990Lucio Pozzi, Letter from New York, in: II Giornale Dell'Arte, No. 74, January
1992Heiner Hachmeister (ed.), Hans Breder - Threshold States/Sprach-Schwellen, texts by Heiner Hachmeister, Stephen Foster,
Herman Rapaport, Donald Kuspit, Lucio Pozzi, Allen F. Roberts, Antonio R. Damasio, Muenster, Germany: Hachmeister Verlag
1995Hans Breder and Herman Rapaport, The Luminous Object: Video Art/Video Theory, in: Visible Language 29.2,
Rhode Island School of Design
Hans Breder, Intermedia: Enacting the Liminal, in: Performance Arts Journal, Vol. XVII, No. 2/3, The Johns Hopkins University Press
1999Marlena G. Corcoran, Skin Forms on Paint over Time: in the Work of Hans Breder, in: Art Criticism, Vol. 14, No. 1
Heiner Hachmeister (ed.), Hans Breder - New Paintings/Neue Bilder, text by Garrett Stewart, Muenster, Germany: Hachmeister Verlag
2001Walter Robinson, Hans Breder, Body/Sculpture 1965-73 at Mitchell Algus Gallery, Weekend Update, Artnet.Com
2002Heiner Hachmeister (ed.), Hans Breder - Works/Arbeiten 1964-2000, essay by Donald Kuspit, Muenster, Germany: Hachmeister Verlag
contact:
Office:
Campus phone: (319) 335-1771
Email: hans-breder@uiowa.edu
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