About dealing with art criticism - the example of Neo Rauch and Wolfgang Ullrich

Art and criticism are two inseparable spheres that maintain a complex interplay with each other. This relationship becomes particularly interesting and insightful when one looks at prominent examples.

Recently, the disputes between renowned painter Neo Rauch and art historian Wolfgang Ullrich attracted considerable media attention. In this article, we will examine this case more closely, exploring how artists and art critics can engage in dialogue—or, conversely, how such communication can fail. Furthermore, we will consider other instances of controversial art criticism to gain a broader perspective on this topic.

Neo Rauch and Wolfgang Ullrich: A bitter feud

An overview of the controversy

The debate between Neo Rauch and Wolfgang Ullrich has caused quite a stir in the art world. Neo Rauch, a prominent representative of the Leipzig School , is known for his surreal and symbolic paintings, which often convey complex and ambiguous messages.

Wolfgang Ullrich, on the other hand, is a distinguished art historian and critic known for his concise and often polarizing views on contemporary art.

The controversy began when Ullrich, in one of his essays, described Neo Rauch's work as "anti-modern" and "backward-looking ." This provoked a strong reaction from Neo Rauch, who not only defended himself in interviews but also responded with provocative artworks that caricatured and criticized Ullrich.

three weeks ago, on May 23, during a seizure, CG Construction GmbH , part of the Gröner Group AG, carrying a Neo Rauch painting. As reported in today's Pioneer Briefing – Neo Rauch: The Fight Against Political Correctness by editor Gabor Steingart , the bailiff had brought an arrest warrant for managing director Klaus Hänsel due to unpaid invoices to a construction company.

The background is curious and fits our topic: the Leipzig artist Neo Rauch reacted to the accusations of his art critic of representing right-wing ideas with a provocative work called “Der Anbräuner” .

The image depicts the unpopular critic Wolfgang Ullrich himself, using his own excrement to paint a figure on a canvas that suggests a Hitler salute. The work is signed with the initials "WU" .

The painting was auctioned off at a charity event for €750,000 and purchased by Christoph Gröner, who defended Rauch against the accusations. Gröner planned to exhibit the painting in an "Association for Common Sense," but this has not yet been realized.

Instead of letting the insults silence him, Wolfgang Ullrich decided to write an entire book about it, describing how Neo Rauch portrayed him as a "brown-faced troll" and repeatedly confronting him with his own quotes. For the critic, the painting symbolizes a "new East-West conflict." Whether this is too dramatic is discussed in an article by Daniel Völze in monopol magazin .

Nevertheless, the message of the image remains strong: Political correctness can be criticized or fought – Rauch has opted for the latter.

This heated debate raises essential questions about how artists deal with criticism and critics, and offers a fascinating case study of how deeply art criticism can penetrate the skin.

Art and criticism: A symbiotic relationship

Art and criticism are deeply intertwined. Artworks stimulate thought and are meant to spark discussion – this is one of their essential functions. At the same time, constructive criticism helps to shape and develop the discourse on art. Criticism can serve as a mirror through which artists can view their work from different perspectives.

Neo Rauch, who cleverly used his craft in his reply to Ullrich to emphasize his position, clearly demonstrates that interacting with critics can also be a deeply personal matter.

But how should artists and critics ideally interact? A respectful dialogue and open discussion can enrich both sides and deepen the understanding of art.

The public dispute

The public dimension of the controversy between Neo Rauch and Wolfgang Ullrich has further contributed to its significance. Art criticism is often situated in a public forum – be it in specialist journals, online blogs, or on social media. When criticism is voiced publicly, it reaches not only the ears of the artist but also those of the public. This public sphere can create either a bridge or a barrier.

Neo Rauch responded to Ullrich's criticism not only with a statement, but also created works that caricature Ullrich and highlight the issue of how criticism of his art is handled. These artworks were also publicly displayed and sparked further discussions. This demonstrates how public criticism and the reactions to it can shape both the artist's work and the public perception of him.

The role of the media

The media play a crucial role in disseminating and amplifying art criticism. Through media influence, controversies like the one between Neo Rauch and Wolfgang Ullrich can gain widespread attention. Newspapers, cultural magazines, and online platforms provide space for in-depth analysis and immediate reactions.

Neo Rauch, a skilled media user, also used interviews and media appearances to present his perspective. Wolfgang Ullrich, in turn, published his reactions and thoughts both in print and digitally. This media presence not only amplifies the reach of the discussion but also shapes public opinion about the participants.

Further examples of controversial art criticism

The dispute between Neo Rauch and Wolfgang Ullrich is by no means the only controversial debate in the art world. Numerous other cases demonstrate how emotional and dynamic art criticism can be

Damien Hirst vs Julian Spalding

British artist Damien Hirst is known for his controversial works, including animals preserved in formaldehyde. Art historian Julian Spalding criticized Hirst's work as "circus art" and argued it exemplifies the decline of contemporary art. Hirst responded by publicly rejecting the criticism and defending his artistic vision.

Jeff Koons vs. Jerry Saltz

American artist Jeff Koons, famous for his highly polished sculptures, has been criticized by critic Jerry Saltz for his commercial approach and the alleged superficiality of his works.

Koons, however, pointed out that his art contained a deep social commentary that went beyond superficial observations.

Marina Abramović vs. art critic

The controversial, because radical, performance artist is the current recipient of the GQ “Art Icon Of The Year” award .

In the following video, Marina Abramović is asked a choice in an interview: Are artists born or trained to be artists? Does the Serbian-born artist seek human contact or solitude? And does she see herself as a warrior or a defender?

The video also allows us an insight into the multifaceted world of the renowned performance artist, who is currently enjoying her biggest exhibition at the Royal Academy of Arts and recently celebrated her 77th birthday.

Performance artist Marina Abramović has consistently received mixed reviews for her intense and often boundary-pushing performances. In her work mental and physical limits. However, for some, this provocative art too far and too close to home.

Some critics praised her work as courageous and revolutionary, while others labeled it self-aggrandizing and manipulative. Abramović reacted emotionally to the criticism, leading to heated public debates.

Here are some articles on the topic:

• Courier: Artist Marina Abramovic defends herself against conspiracy theories (2020)
• DW: Nudity, blood and pain: Marina Abramović in London (2023)
• DerStandard: Marina Abramović: “Political correctness is complete bullshit” (2023)

The only things that should matter: knowledge, understanding, and respect

Ultimately, it's about fostering understanding and respect for the perspectives of artists and critics, and gaining insights from these debates—for the artist, the critics, and the neutral observer. Both sides contribute to the rich fabric of the art world—the former through their creative works and the latter through their analytical insights. If Neo Rauch and Wolfgang Ullrich were able to address their differences respectfully and productively, they could potentially contribute to a deeper understanding and greater appreciation of art.

A respectful debate could lead to both the criticism and the artistic response to it being seen as valuable contributions to cultural discourse. Openness and tolerance towards differing opinions, as well as the courage to engage in complex discussions, are of great importance in this regard.

Your opinion matters!

The dispute between Neo Rauch and Wolfgang Ullrich offers many interesting and instructive insights into how artists and critics can interact. It raises questions about dealing with criticism, the role of the media, and the importance of respectful dialogue. Furthermore, examples of other controversial art criticism demonstrate that this phenomenon is widespread and multifaceted.

What are your thoughts on this case? Do you have similar experiences or views on this topic? We warmly invite you to share your opinions and thoughts in the comments. Discuss with us the dynamics between art and criticism and how both sides can benefit from each other. Your perspectives and insights are valuable for a lively and enriching exchange!

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Joachim Rodriguez y Romero

Owner and Managing Director of Kunstplaza. Journalist, editor, and passionate blogger in the field of art, design, and creativity since 2011. Successful completion of a degree in web design as part of a university study (2008). Further development of creativity techniques through courses in free drawing, expressive painting, and theatre/acting. Profound knowledge of the art market through years of journalistic research and numerous collaborations with actors/institutions from art and culture.

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