Artist: Caro Jost
Concept artist Caro Jost appropriates foreign traces, materials and memories, which she transforms into autonomous artworks of both autobiographical and social relevance. From the very beginning, compiling and archiving has been an important component of her strategy as an artist. In terms of both content and form, the artist works with collages in which she combines the materials she finds and then supplements with other techniques.
The focus of her long years of research has been on places where artists were once active. The artists hold a particular fascination for Caro Jost, above all the New York Avantgarde of the 1950s and 60s in the circles of Barnett Newman, Ad Reinhardt and Jackson Pollock. For more than 15 years, Caro Jost has been systematically tracking the great masters. The artist has achieved a great deal of recognition for her development of the “Streetprint” image type, for which she creates actual street impressions of venues that have personal, social or art historical meanings. In 2016, she further developed the concept of this group of works, appropriating original invoices of these artists’ purchases of materials in her “Invoice Paintings”.
After studying law, Caro Jost took up her studies of art at the Art Students League of New York and afterwards, at the Art Academy in Munich with Jean Marc Bustamante and Florian Pumhösl. Jost has gained particular renown for her “Streetprints”, a technique she herself developed in New York in 2000. In addition to taking part in international exhibitions and projects, Jost’s art may be found in significant museum collections and archives, such as the Jumex Collection in Mexico, ZERO Foundation in Düsseldorf, Städtische Galerie im Lenbachhaus in Munich, Chelsea Art Museum in New York, Colby Museum of Art in Maine, the Peggy Guggenheim Collection Archive in Venice and the MoMA Library Collection in New York.