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Freddy Reitz
Bold eye-catchers: the images of American artist Freddy Reitz, who has made her home in Germany, are impressive messages of freedom dressed up in ravishing, colorful hues. The US flag, completely new: Reitz transforms it into a kaleidoscope, hinting at the “melting pot” idea at the heart of the national symbol. In the background, a… Read more
Intro Bio Exhibitions
Crystal Champagne
Correspondent Art
£ 1,599
New York Flag
Correspondent Art
£ 2,990
Berlin / New York
Correspondent Art
from £ 1,099 to £ 1,999
New York / CCCP
Correspondent Art
from £ 399 to £ 1,299
Big Ketchup
Correspondent Art
from £ 399 to £ 949
Berlin
Correspondent Art
Crazy Ketchup
Correspondent Art
US Flag
Correspondent Art
from £ 699 to £ 1,999
Suisse Flag
Correspondent Art
from £ 699 to £ 1,999
New York (Kennedy Material) I
Correspondent Art
from £ 349 to £ 1,049
New York (Kennedy Material) II
Correspondent Art
from £ 349 to £ 1,049
Troubleshooter
Correspondent Art
from £ 699 to £ 1,599
Liberté n’existe pas
Correspondent Art
from £ 699 to £ 1,999
Background Information about Freddy Reitz
Introduction
Bold eye-catchers: the images of American artist Freddy Reitz, who has made her home in Germany, are impressive messages of freedom dressed up in ravishing, colorful hues.
The US flag, completely new: Reitz transforms it into a kaleidoscope, hinting at the “melting pot” idea at the heart of the national symbol. In the background, a collage of newspaper and postcard clippings gives the stars and stripes painted over them a completely new note.
Reitz calls her understanding of art “correspondent art.” She aims to engender a communicative bond between object and viewer. She layers collages and colors over one another until she has found the magical balance between boldness and subversion that characterizes her work.
The native Texan, who has long lived and worked in the German capital, had her breakthrough with her Berlin Series, which was exhibited in the Dresdner Bank on Pariser Platz on the occasion of the reopening of the Brandenburg Gate in 2002.
After 2002 Reitz continued to work on this series, which consists of large-format, red-background diptychs joined by small Brandenburg Gates, deeply and optimistically broaching the issue of the fusion of East and West. Bill Clinton and Sharon Stone are but a few of Reitz’s more famous fans and collectors.
LUMAS is delighted to present one Berlin work from 2009 in addition to two further works from the series Crazy Ketchup, which deals thematically with the symbolic American flag. In these Reitz alienates brand labels in great Factory style. “You are leaving the American sector,” the viewer is informed, while in the foreground the Crazy Ketchup bottle, no longer able to control itself, explodes in an array of colors. Pop art at its best.
The US flag, completely new: Reitz transforms it into a kaleidoscope, hinting at the “melting pot” idea at the heart of the national symbol. In the background, a collage of newspaper and postcard clippings gives the stars and stripes painted over them a completely new note.
Reitz calls her understanding of art “correspondent art.” She aims to engender a communicative bond between object and viewer. She layers collages and colors over one another until she has found the magical balance between boldness and subversion that characterizes her work.
The native Texan, who has long lived and worked in the German capital, had her breakthrough with her Berlin Series, which was exhibited in the Dresdner Bank on Pariser Platz on the occasion of the reopening of the Brandenburg Gate in 2002.
After 2002 Reitz continued to work on this series, which consists of large-format, red-background diptychs joined by small Brandenburg Gates, deeply and optimistically broaching the issue of the fusion of East and West. Bill Clinton and Sharon Stone are but a few of Reitz’s more famous fans and collectors.
LUMAS is delighted to present one Berlin work from 2009 in addition to two further works from the series Crazy Ketchup, which deals thematically with the symbolic American flag. In these Reitz alienates brand labels in great Factory style. “You are leaving the American sector,” the viewer is informed, while in the foreground the Crazy Ketchup bottle, no longer able to control itself, explodes in an array of colors. Pop art at its best.
Bio
| 1998 | First Vernissage |
| Lives and works in Berlin |
Awards
| 2010 | American Art Awards, Category Pop Art, 3rd. place |
| American Art Awards, Category Political Commentary, 3rd. place |
Exhibitions
Solo Exhibitions
| 2010 | Keszler Gallery, New York, USA |
| „stilwerk“, Hamburg, Germany | |
| 2009 | Roth & Partners Fine Art, Miami, USA |
| 2008 | Galerie Münchow, Zurich, Switzerland |
| 2005 | Parexel, Boston, USA / Berlin, Germany |
| 2004 | Hotel Adlon , Berlin, Germany |
| Galerie Anne Moerchen, Hamburg, Germany | |
| Berliner Bank, Berlin, Germany | |
| 2002 |
Group Exhibitions
| 2004 | Galery Schriever, Köln, Germany |
| Galery Anne Moerchen, Hamburg, Germany | |
| 2003 | Galery Anne Moerchen, Hamburg, Germany |
| 2001 | Palais am Bundesrat, Berlin, Germany |
| 2000 | UNICEF, Berlin, Germany |
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