Galerie Mera
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Prologue by Elisabeth Grossmann
Catalogue cover
From 1969 to 2008, Anton Teppert (1926–2014) was deeply involved in the visual arts: his oeuvre comprises about one thousand works. To do justice to this work
of a lifetime is not an easy task within the limitations of this catalogue. The wealth of forms together with the various processes and materials defy generalization, whether we are viewing early works in brass and cop-
per produced with a sawing technique, his experiments with string and various kinds of bands, or the alumi-
num pieces from 1990 onwards.
of a lifetime is not an easy task within the limitations of this catalogue. The wealth of forms together with the various processes and materials defy generalization, whether we are viewing early works in brass and cop-
per produced with a sawing technique, his experiments with string and various kinds of bands, or the alumi-
num pieces from 1990 onwards.
But if we undertake an in-depth analysis of his work, certain characteristics gradually crystalize: Teppert’s emphasis on self-determination, the great value he places on craftsmanship, and his endeavor to manifest both the aesthetic and transcendent aspects of a work.
This stance, as well as three main themes that repea-
tedly turn up in ever new formulations throughout his oeuvre will be the focus of the following essay, which
will hopefully lead to a deeper understanding of Tep-
pert’s art. back
tedly turn up in ever new formulations throughout his oeuvre will be the focus of the following essay, which
will hopefully lead to a deeper understanding of Tep-
pert’s art. back