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A tribute to Mike Kelley
The New ArtStation at Winchester House
Deutsche Bank Supports ALTANA Cultural Foundation Exhibition
Art Works App-Now Live
A Capital’s Trademark Returns to its Familiar Site
Deutsche Bank Supports Major Polke Show in Sao Paulo
Tamara Grcic’s project for the Roßmarkt in Frankfurt
Obituary: Karl Duschek
Views 2011: Konrad Smolenski wins the most important prize for young Polish art
Wall Gallery Shows Women Artists from the Deutsche Bank Collection
Rosemarie Trockel Receives the Goslarer Kaiserring
Deutsche Bank sponsors Nedko Solakov show in the Ikon Gallery
Poland – Germany: Deutsche Bank Foundation supports exhibition in Martin-Gropius-Bau


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Pioneer of Pure Form
Karl Duschek has Died

He’s considered to be one of the most influential graphic designers of the present day. At the same time, he was an important proponent of Concrete Art. For Karl Duschek, the boundaries between art and design were always uncertain. Now, he has died in his native city Stuttgart at the age of 64.

Duschek’s clear, memorable aesthetic was also extremely important for the visual identity of Deutsche Bank: in 1972, he began his brilliant collaboration with Anton Stankowski. In their graphic design studio in Stuttgart, they developed the distinctive Deutsche Bank logo in the seventies. Atelier Stankowski+Duschek designed many prominent brands, such as the corporate design of the Deutsche Börse (German Stock Exchange), which was introduced in 1993.

Karl Duschek was born in 1947 in Braunschweig. Following his training as a lithographer, he began studying at the Staatliche Hochschule für Bildende Künste in Braunschweig. Throughout these years, he closely studied the color theory Johannes Itten developed at the Bauhaus. Duschek made his first serial works while still a student. As a representative of Concrete Art, his works are based on mathematical and geometric ideas. He mainly worked with series of monochromatic forms that he extended into the third dimension, into small cubes and triangles. With the greatest consistency, he ascribed to a Constructivist aesthetic and remained true to the fundamental theme in his work—to represent complex orders in a reduced formal language.

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