Leading Fluxus artist Wolf Vostell (1932–1998) used concrete as an actual material and artistic motif in a surprising number of ways in the late 1960s and early 1970s.
During this time, Vostell mobilized concrete’s ambivalent connotations of permanence and inflexibility, strength and violence, to engage with postwar urbanism, particularly German reconstruction and American urban renewal; with unrest and war, including the civil rights marches in Selma, the Paris student protests, the Vietnam and Cold wars; and with the international, if not yet global world, particularly as manifest in transatlantic travel, postcards, and the Munich Olympics.
Vostell Concrete is animated by questions of why the materials of art making matter and what they signify. It features the artist’s little known, first uses of concrete and redresses a too-limiting understanding of Vostell as a mere performance artist or belated German Pop artist. Drawn from the Smart Museum and other local, national, and international collections, the approximately 45 works on view span a variety of media, from sculpture to film, performance, collage, watercolor, and printmaking.
Credit: Exhibition overview from museum website