Carl Heidenreich Foundation

The Carl Heidenreich Foundation is pleased to share the recent inclusion of Untitled (cityscape) from the collection of Mark Callister in the Carl Heidenreich catalogue raisonné.

In arguing against the “dictatorial perpendicular” and the commercialization of writing, Benjamin enacts a future argument made by the art critic Rosalind Krauss on the vertical and horizontal. In Heidenreich’s later work and particularly with his Alaska series, his paintings convey this horizontality: they are no longer the vertical, bounded plane of small apartment windows, vision scratched out or covered over but instead spread organically, open up fissures, offer limitless territories, and propel the viewer into the infinity of horizontal space.

We enter, fleeing is a series of essays by Carl Heidenreich Foundation director Christopher Squier considering postwar painting and abstraction in the context of diaspora, exile, and migration. Part two of the series looks at the use of text in Heidenreich's paintings in the context of Benjamin's notion of the "dictatorial perpendicular." Although it occurs sparingly throughout his body of work, text is often used to signal political urgency, a rupture in everyday life, or violent and disorienting experiences.

We enter, fleeing is a series of essays and blog entries by Carl Heidenreich Foundation director Christopher Squier drawing inspiration from the work of the literary critic Walter Benjamin alongside discourses in visual culture and contemporary art. The series considers postwar painting and abstraction in the context of diaspora, exile, and migration.

The Carl Heidenreich Foundation is thrilled to update our catalogue raisonné with previously unrecorded paintings by the German American exile artist from two additional collections.

The Carl Heidenreich Foundation is pleased to name Christopher Squier as Executive Director.

The Carl Heidenreich Foundation is pleased to share the recent acquisition of Heidenreich’s Girl in Rumanian Blouse, purchased from the painter’s grandson Howard Lortz.

Over the past year, the Carl Heidenreich Foundation has developed a catalogue raisonné of the artist’s known works in all media.

A reflection on six works, which demonstrate the artist’s shifting focus from representation to the language of abstraction after immigrating to New York after WWII.

This conversation is part of a series of interviews with families and individuals who collected and preserved the legacy of painter Carl Heidenreich. On October 5, 2017 KunstWorks' Alla Efimova interviewed Richard Buxbaum about how he reconnected with Emanuel Wolf, the largest collector of Heidenreich's art, making it possible to appreciate the full extent of the artist's legacy.

On August 31, Alla Efimova interviewed Emanuel Wolf about his memories of the German exile artist Carl Heidenreich.

The Carl Heidenreich Foundation recently acquired three Carl Heidenreich oil paintings from Lothar Brandt of Berlin. The oil paintings, Portrait of Lia (c. 1930), Street Encounter (1932), and Self-Portrait (1926) are rare examples of Heidenreich's pre-war painting, of which very few remain.

This conversation is part of a series of interviews with families and individuals who collected and preserved the legacy of Carl Heidenreich for the past half-century. On July 12, Alla Efimova interviewed Gerhard and Regina about their dedication to the painter.

On November 20, the launch of the Carl Heidenreich Foundation was celebrated at the Berkeley Art Museum/Pacific Film Archive’s Cafe Babette.