• Konrad Klapheck
    Drawing for “Jazzclub, 52nd Street”
    2005
    charcoal and red pencil on tracing paper
    45 1/4 x 33 1/2 inches (115 x 85 cm)

  • Konrad Klapheck
    Drawing for “Loverman”
    2009
    charcoal and pencil on tracing paper
    60 1/4 x 45 1/4 inches (153 x 115 cm)

  • Konrad Klapheck
    Drawing for “Nightclub”
    2005
    charcoal and pencil on tracing paper
    59 x 37 inches (150 x 94 cm)

  • Konrad Klapheck
    Archie Shepp
    2005
    charcoal on Ingres paper
    25 x 19 1/4 inches

  • Konrad Klapheck
    Illinois Jacquet
    2000
    charcoal on Ingres paper
    25 x 19 1/4 inches

  • Konrad Klapheck
    Elvin Jones
    2000
    charcoal on Ingres paper
    25 x 19 1/4 inches (63.3 x 48.6 cm)

  • Konrad Klapheck
    Rashied Ali
    2000
    charcoal on Ingres paper
    25 x 19 1/4 inches (63.3 x 48.6 cm)

  • Konrad Klapheck
    Sketch for “Four Horns, One Mouth” I
    2008
    graphite and red pencil on paper
    11 5/8 x 6 inches

  • Konrad Klapheck
    Sketch for “Four Horns, One Mouth” II
    2008
    graphite and red pencil on paper
    11 1/2 x 6 inches (29.5 x 15 cm)

  • Konrad Klapheck
    Sketch for “Tomorrow is the Question” (Ornette Coleman)
    2012
    graphite and red pencil on paper
    11 5/8 x 8 1/4 inches (27.7 x 21 cm)

  • Konrad Klapheck
    Sketch for “Galactic Blues” (Sun Ra)
    2011
    graphite and red pencil on paper
    11 5/8 x 8 1/4 inches (27.7 x 21 cm)

  • Konrad Klapheck
    Sketch for “Solo” (Anthony Braxton)
    2010
    graphite and red pencil on folded paper
    11 5/8 x 8 1/4 inches (27.7 x 21 cm)

  • Konrad Klapheck
    Sketch for “Initiation”
    2008
    charcoal on paper
    11 1/2 x 8 1/4 inches (29.5 x 21 cm)

  • Konrad Klapheck
    Sketch for “The Audience”
    2008
    graphite on paper
    11 1/2 x 8 1/4 inches (29.5 x 21 cm)

  • Konrad Klapheck
    Sketch for “Jazzclub, 52nd Street”
    2005
    graphite on paper
    11 1/2 x 8 1/4 inches (29.5 x 21 cm)

  • Konrad Klapheck
    Sketch for “Ballroom” I
    2004
    graphite and red pencil on paper
    11 1/2 x 8 1/4 inches (29.5 x 21 cm)

  • Konrad Klapheck
    Sketch for “Ballroom” II
    2004
    graphite on paper
    11 1/2 x 8 1/4 inches (29.5 x 21 cm)

  • Konrad Klapheck
    Ballroom
    2010
    engraving on paper
    11 3/4 x 9 1/2 inches (plate); 21 x 15 1/2 inches (sheet) (53 x 39 cm)
    Ed. of 30

  • Konrad Klapheck
    Nude study for “Le ring I”
    2000
    charcoal on Ingres paper
    25 x 19 1/4 inches (63.3 x 48.6 cm)

  • Konrad Klapheck
    Le Ring
    2010
    engraving on ivory paper
    13 1/2 x 10 3/4 inches (plate); 20 7/8 x 15 3/8 inches (sheet) (50 x 39 sm)
    Ed. of 30

  • Konrad Klapheck
    Round About Midnight
    2010
    engraving with black marker and white ink on white paper
    10 1/2 x 8 inches (plate); 19 11/16 x 15 31/2 inches (sheet) (50 x 39 cm)
    Ed. of 30


PRESS RELEASE

 

Opening reception at the gallery on Saturday, October 26, from 5:00–8:00pm.

Since he emerged in the mid 1950s, Konrad Klapheck has been one of the legendary figures of European painting.  His early signature works were canvases of machines – sewing machines, watches, adding machines, motorcycyles, and most importantly typewriters.  Under Klapheck’s brush, a typewriter carried a great variety of connotations and associations.  Using his own patented perspectival system, he endowed them with personality, gender, a sense of menace or seductiveness.  In the ’60s and ’70s, these machines grew more complex and fantastic, but they retained their inherent objectness, their fetishistic quality as still images of metallic beasts.  Klapheck began to introduce figures into his work in the 1990s, and these, too, were unlike anything else in contemporary painting.  Narrative tableaux, often explicitly erotic and even disturbing, they made clear a side of the work that had always been latent in the anthropomorphic machines.  At the same time, the figurative works allowed Klapheck to return to two earlier loves:  boxing and jazz.  In the early ’50s, he had worked as a jazz journalist in Düsseldorf, and the new works included portraits of Charlie Parker, Billie Holiday, and Coleman Hawkins, as well as avant garde jazz figures including Archie Shepp, Anthony Braxton, and Ornette Coleman.

Klapheck’s work has been shown infrequently in the United States, most recently at Zwirner & Wirth (2007) in an exhibition curated by artist Christopher Williams.  In this, Klapheck’s first exhibition in Chicago, Corbett vs. Dempsey is proud to present a selection of jazz and boxing drawings and prints by one of the most profound and enigmatic artists of the last 60 years.