Jeff Wassmann

Explore about the Famous American artist Jeff Wassmann, who was born in United States on April 2, 1958. Analyze Jeff Wassmann’s net worth, age, bio, birthday, dating, height-weight, wiki. Investigate who is Jeff Wassmann dating now? Look into this article to know how old is Jeff Wassmann?

Jeff Wassmann Biography

Like Cornell, Wassmann came from an “old Methodist family.” Cornell’s parents were both from socially prominent New York families of Dutch ancestry, while Wassmann’s mother, a Furber, could trace her lineage back to the Revolutionary War’s General Richard Furber, and beyond that to William Furber’s arrival in the New World from Devonshire on one of Sir Walter Raleigh’s ships on August 14, 1635.

16969, 1896. 38 x 28 x 10 cm. MuseumZeitraum Leipzig.

Biedermeier snuff box. German, 1840s. MuseumZeitraum Leipzig.

As a visual artist, Wassmann continues to work under the nom de plume of the pioneering German modernist Johann Dieter Wassmann (1841–1898). He is the creator of two equally fictitious institutions, The Wassmann Foundation, Washington, D.C. and MuseumZeitraum Leipzig. Wassmann’s art practice received worldwide exposure after a solo exhibition of his work, titled Bleeding Napoleon, was included in curator Juliana Engberg’s visual arts program for the Melbourne International Arts Festival 2003. Through the character of Johann Dieter Wassmann, the artist explores his transcendental vision of the lost opportunity of inseparable time and space as he imagines it might have been optimistically perceived in the hours before the dawn of the catastrophic twentieth century. In creating the character of Johann Dieter Wassmann and bestowing on him all the art world accoutrements a dead artist needs – the well-endowed American foundation, the cadre of curators, the Flash-driven website and the European roots – the contemporary artist has been quietly, and with some success, ‘placing’ the dead artist into the Western canon.

This co-existence of artist and character nearly two centuries apart, experiencing similar realities, the artist sees not as a hoax, but as illustration of his view of the non-linearity of time and more particularly a defiance of the rigidly linear perspective of art criticism. Here Wassmann draws heavily on the work of the German mathematician Hermann Minkowski (1864–1909) and his oft-quoted passage:

Worn apothecare print. French, 1870s. MuseumZeitraum Leipzig.

Arteriae Pelvis, Abdomimis, et Pectoris, 1883. 70 x 55.5 x 8 cm. MuseumZeitraum Leipzig.

Foucault’s Pendulum, 1884. 36 x 18.5 x 9 cm. MuseumZeitraum Leipzig.

L’Hotel de Vie, 1886. 52 x 70 x 15.5 cm. MuseumZeitraum Leipzig.

Family death notice. Swedish, 1890s. MuseumZeitraum Leipzig.

Envelope to Anna Peterson. Swedish, 1890s. MuseumZeitraum Leipzig.

Nikolaikirche, Leipzig, 1894. Albumen silver print, 18 x 23 cm. The Wassmann Foundation, Washington, D.C.

The Case of the City of London, 1894. 39.5 x 29.5 x 26 cm. MuseumZeitraum Leipzig.

Harmonisch, 1895. 14.5 x 14.5 x 7 cm. MuseumZeitraum Leipzig.

Phrenology of the Brain, 1895. 36 x 30.5 x 9 cm. MuseumZeitraum Leipzig.

Schloss Sanssouci, Potsdam, 1896. Albumen silver print, 18 x 23 cm. The Wassmann Foundation, Washington, D.C.

Freundschaftstempel, Potsdam, 1896. Albumen silver print, 18 x 23 cm. The Wassmann Foundation, Washington, D.C.

L’Hotel des Spheres, 1896. 80 x 49 x 24 cm. MuseumZeitraum Leipzig.

Appareil Auditif, 1896. 46 x 35 x 10 cm. MuseumZeitraum Leipzig.

Prince Otto von Bismarck, 1896. 66 x 53 x 13 cm. MuseumZeitraum Leipzig.

Weinbergterrassen, Park Sanssouci, Potsdam, 1897. Albumen silver print, 18 x 23 cm. The Wassmann Foundation, Washington, D.C.

Quedlinburg, 1897. Albumen silver print, 18 x 23 cm. The Wassmann Foundation, Washington, D.C.

Freyburg, 1897. Albumen silver print, 18 x 23 cm. The Wassmann Foundation, Washington, D.C.

Berlin, 1897. Albumen silver print, 18 x 23 cm. The Wassmann Foundation, Washington, D.C.

Dasein (Being), 1897. 48 x 26 x 7 cm. MuseumZeitraum Leipzig.

Nietzsche, 306P, 1897. 38 x 28 x 10 cm. MuseumZeitraum Leipzig.

Nietzsche, 306P, 1897. 38 x 28 x 10 cm. MuseumZeitraum Leipzig.

The most intriguing aspect of this artistic resonance, however, can be found at a more curious intersection of their two lives, namely, the Christian Science church. Wassmann’s grandmother Furber (née Fredericks) gained an interest in Christian Science after her return to New York from Beirut in the mid-1920s. Eight years Cornell’s senior, she began attending a Christian Science church on Long Island in the same years as Cornell. The young artist had been drawn to the church by a coworker in hopes of finding a cure for his brother, Robert, who suffered from cerebral palsy, but he became equally fascinated by the transcendental nature of Mary Baker Eddy’s teachings. He would remain devoted to Christian Science throughout his life. While Wassmann’s parents both returned to the Methodist church, Christian Science continued as an influence on his upbringing and throughout his twenties when Wassmann worked as a photographer covering the Midwest for the Christian Science Monitor.

While Cornell fed his interest in nineteenth century books, ephemera and popular engravings by fossicking the shops and markets of Lower Manhattan in the 1920s, eighty years on, Wassmann extended his search to the shops and markets of France, Germany, Belgium, the U.S., Mexico and Australia to keep a stock of similar material.

Jeff Wassmann (born April 2, 1958) is an American artist, writer and theorist, currently living in Melbourne, Australia. His first novel, The Buzzard, was released in October 2012. Wassmann’s art work incorporates assemblage, photography, web-based new media and aspects of culture jamming.

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