Statement Regarding Rosemarie Trockel’s Practice – Summer Project

Rosemarie Trockel is a German artist who tackles issues of feminism, sexuality and the ‘hierarchy of systems’[1] within her range of work. Often this involves questioning the political, social and aesthetic value of art and their place within the art field. While working with found objects, wood, collages, and photography, Trockel is renowned for her wool pieces that blur the barrier between craftsmanship and contemporary art, questioning the legitimacy of wool as an artistic medium.

In her most recent wool pieces, horizontal and vertical stripes are prominent, referencing twentieth century abstract paintings. Predating these pieces, Trockel utilises a typically viewed feminine material in order to create a sense of a machine. This counterbalances the status of wool and its relevancy as a medium as by making the material more masculine its status remains neutral. Trockel raises questions of why art has rejected wool and other materials categorized as ‘craft’ and debates if it is because of the material itself of the handling of said material.

Trockel’s wool and silkscreen pieces such as ‘Untitled’ 1985, ‘Untitled (Hammer and Sickle) 1986, and ‘Jede Kochin Muss den Denstaat Regieren’ 1987[2] are made with computer assistance to the specification she has requested, almost to remove the femininity attached to the material whilst demonstrating “A spectacle of a society based on copies”[3]. This form of manufacturing extends to her work as the repetition of recognisable symbols devalues the symbol itself which thematically echoes in her choice of material. It is apparent that by reclaiming her chosen medium and the content she is projecting, Trockel forms her own context within her work that is wholly unique.








[1] accessed 25/09/16.

[2]Also known as ‘Every Cook has to Govern The State’



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