{{Short description|German painter}} {{Infobox artist | name = Georg Herold | image = <!-- Fair use images are almost never (if ever) applicable to pictures of living persons. They pretty much automatically fail WP:NFCC #1, because no one image of a living person is "special" and since they're alive, theoretically another image could at any point be made and licensed for free use. --> | image_size = | alt = | caption = | birth_date = {{Birth year and age|1947}} | birth_place = Jena, Germany | death_date = | death_place = | field = sculpture, painting, installation, photography and video art<ref name="Permission to Laugh" /> | training = Woodbury University, Art Center College of Design | movement = Contemporary art | awards = {{awd|Günter Fruhtrunk Prize of the Academy of Fine Arts|1998}}<ref name="gerhardsengerner" /> | notable_works = ''Untitled'', (1991)<br />''Künstlerische Medizin, Patho-Ontologie (Cabinet patho-psychologique)'' (1995)<br />''There is nothing left—There is no right'', (1992)<br />''Delivering the WOW'', (2005)<br />''Figur I-V'' (2007)<ref name="Artforum Jean-Paul Stonard" /> }}
'''Georg Herold''' (born 1947) is a German artist. He works in sculpture, installation, painting, photography, and video art. He lives and works in Cologne, Germany.<ref name="Permission to Laugh" /><ref name="gerhardsengerner" />
==Early life and education== Herold finalized a traineeship as an artist blacksmith and attended the University of Art and Design Halle (Halle, Germany) from 1969 to 1973. In 1974, Herold left the German Democratic Republic, went to Munich and attended the Academy of Fine Arts (1974–76). Herold left Munich and went to Hamburg where, under the mentoring of Sigmar Polke, he has graduated the University of Fine Arts.<ref name="gerhardsengerner">{{cite web|last1=Gerner|first1=Gerhardsen|title=Georg Herold|url=http://www.gerhardsengerner.com/Artists/gh_bio.htm|website=www.gerhardsengerner.com|accessdate=2 August 2017}}</ref><ref name="bawagpskcontemporary.com">{{cite web|title=Georg Herold|url=http://www.bawagpskcontemporary.com/index.php?id=73&events=181|website=www.bawagpskcontemporary.com|publisher=BAWAG Contemporary|accessdate=2 August 2017|language=en|date=1999|archive-date=2 August 2017|archive-url=https://web.archive.org/web/20170802212008/http://www.bawagpskcontemporary.com/index.php?id=73&events=181|url-status=dead}}</ref>
While studying under the guidance of Sigmar Polke (1977-1981)<ref name="inliquid">{{cite web|url=http://www.inliquid.com/thought/articles/mangel/herold.php |title=George Herold: Uncertain Relationships |publisher=InLiquid |access-date=2 August 2017 |url-status=dead |archive-url=https://web.archive.org/web/20120309124928/http://www.inliquid.com/thought/articles/mangel/herold.php |archive-date=2012-03-09}}</ref> and Franz Erhard Walther<ref name="Frieze" /> at the University of Fine Arts of Hamburg, Herold met Günther Förg, Martin Kippenberger, Albert Oehlen and Werner Büttner.<ref name="Permission to Laugh">{{cite book|last1=Williams|first1=Gregory H.|title=Permission to Laugh: Humor and Politics in Contemporary German Art|date=2012|publisher=University of Chicago Press|pages=104–120|location=Chicago|isbn=9780226898957}}</ref> They formed a tight knit group of "provocateurs", the "bad boy group" (''enfants terribles''), known for embracing the punk attitude and rebelling in the anarchic spirit of the late 1970s.<ref>{{cite book|last1=Weitman|first1=Wendy|last2=Wye|first2=Deborah|title=Eye on Europe: Prints, Books & Multiples, 1960 to Now|date=2006|publisher=Museum of Modern Art|location=New York, NY|isbn=9780870703713|page=172}}</ref>
==Work==
Between the 80s and 90s, Herold's work was influenced by Albrecht Dürer's, whose ''Hare'' (1502) was created using roofing slats.<ref name="Frieze">{{cite magazine|last1=Christofori|first1=Ralf|title=Georg Herold|journal=Frieze|date=September 2005|issue=93|url=https://frieze.com/article/georg-herold-0|accessdate=2 August 2017|language=en}}</ref><ref name="I Believe in Dürer">{{cite news|title=I Believe in Dürer|url=https://www.kunstkulturquartier.de/kunsthalle/ausstellungen/archiv/kunsthalle-archiv/news/i-believe-in-duerer/?tx_news_pi1%5Bcontroller%5D=News&tx_news_pi1%5Baction%5D=detail&cHash=18cb6ba367806c223d9f3d1b3c9f16ab|accessdate=2 August 2017|work=Kunst Kultur Quartier|date=14 December 2015|language=de}}</ref> Herold was also influenced by the Dada movement, whose specifics are found in his bizarre and subversive<ref name="bawagpskcontemporary.com" /> works that refer to the consumerist society.<ref name="monopol" /> Some of Herold's works are often "allusional"<ref>{{cite web|title=Georg Herold|url=http://www.sadiecoles.com/exhibitions-press-release/georg-herold-schq-2011|website=www.sadiecoles.com|publisher=Sadie Coles HQ|accessdate=2 August 2017|language=en}}</ref> and "quirky and provocative as "Dada"". An example is Herold's ''Herrenperspektive (Men's Perspective)'', (2002).<ref name="arpmuseum">{{cite web|title=Georg Herold|url=http://arpmuseum.org/en/museum/museum/collections/the-contemporary-collection/georg-herold.html|website=arpmuseum.org|accessdate=2 August 2017|language=en|date=2016}}</ref> The ironic tendency of Herold's works which leave room for interpretation,<ref name="bawagpskcontemporary.com" /><ref name="Pagel">{{cite news|last1=Pagel|first1=David|title=Art Review: Georg Herold "Dear Hunter" at Perry Rubenstein Gallery|url=https://www.latimes.com/entertainment/arts/la-xpm-2013-may-03-la-et-cm-art-review-georg-herold-dear-hunter-at-perry-rubenstein-gallery-20130430-story.html|access-date=2 August 2017|work=Los Angeles Times|date=3 May 2013}}</ref> juxtaposed to the fact that he uses commonly found objects to create his artwork, influenced his style towards Marcel Duchamp's approach.<ref name="Permission to Laugh" /><ref name="SFMoMA">{{cite web|title=Georg Herold|url=https://s3-us-west-2.amazonaws.com/sfmomamedia/media/uploads/files/assets/documents/new_work/sfmoma_new_work_herold_1990_print.pdf|publisher=SFMoMA|accessdate=2 August 2017|date=1990|quote=[...] art is something that has form and meaning, and Herold's work comes close to having neither. Its meaning is deliberately obscure or absent, and its form seems imperiled, as in the brick painting, or even more often, random. One thinks of Marcel Duchamp'surinal which he inverted, entitled ''The Fountain'' [...].}}</ref><ref name="bawagpskcontemporary.com" /> Since 1980, DOCUMENTA IX has been hosting Herold's artworks,<ref name="bawagpskcontemporary.com" /><ref>{{cite web|title=Documenta 9 at Documenta Kassel|url=https://artmap.com/documenta/exhibition/documenta-9-1992|website=artmap.com|publisher=Artmap.com|accessdate=2 August 2017}}</ref> including ''There is nothing left—There is no right'' (1992)<ref name="Artforum Jean-Paul Stonard" /><ref>{{cite web|title=Georg Herold: Articles|url=http://www.saatchigallery.com/artists/georg_herold_articles.htm|website=www.saatchigallery.com|publisher=Saatchi Gallery|accessdate=3 August 2017|language=en|quote=[...]''There is nothing left—there is no right'', 1992, originally exhibited at Documenta 9[...]}}</ref>
Herold uses non-traditional mediums, lower grade everyday materials that are not commonly used in art.<ref name="monopol" /><ref name="SFMoMA" /> These include construction materials like bricks, mattresses,<ref>{{cite news|last1=Cotter|first1=Holland|title=Fanciful to Figurative to Wryly Inscrutable|url=https://www.nytimes.com/2005/07/08/arts/design/fanciful-to-figurative-to-wryly-inscrutable.html|accessdate=1 August 2017|work=The New York Times|date=8 July 2005|quote="Georg Herold's assemblage of bricks punched through a mattress"}}</ref> nails, socks, buttons, paper scraps and copper<ref name="bawagpskcontemporary.com" /> making Herold's work to be associated sometimes with Arte Povera.<ref name="inliquid" /><ref name="Frieze" /> He also uses eclectic household and food items, like tights, aged cheese, tea strainers, photos, and various plants,<ref name="Permission to Laugh" /><ref name="monopol">{{cite journal|last1=Volske|first1=Daniel|title=Mit viel Witz und noch mehr Ernst: Der Kunstler Georg Herold ahmt seit 30 Jahren Wissenschaft und Kunst nack - mit Baumaterialien un Kaviar. Ein Zwischenbericht.|journal=Monopol|date=February 2009|issue=2|pages=44–52|url=http://prod-images.exhibit-e.com/www_petzel_com/63ac934d.pdf|accessdate=2 August 2017|trans-title=With great wit and even more serious: the artist Georg Herold has been taking science and art for 30 years - with building materials and caviar. An interim report.|language=de|oclc=936181807}}</ref> thus, transforming the role of canvas by changing it into a support that outspreads "from the frame into the picture".<ref>{{cite book|last1=Fraser|first1=Catherine C.|last2=Hoffman|first2=Dierk O.|title=Pop Culture Germany! Media, Arts, and Lifestyle|date=2006|publisher=ABC-Clio|location=Santa Barbara, California|isbn=978-1-85109-733-3|page=316}}</ref>
One of the examples of the nontraditional art materials that Herold uses may be his ''caviar paintings''.<ref>{{cite magazine |author=<!--Staff writer(s); no by-line.--> |title=Meisterprüfung |url=http://www.monopol-magazin.de/meisterpr%C3%BCfung |magazine=Monopol |accessdate=2 August 2017 }}</ref> As Herold smears caviar across the surface of the canvas, he transmutes the value and connotation into something invested rather than wasted.<ref name="Artforum Jean-Paul Stonard">{{cite magazine |last1=Stonard |first1=Jean-Paul |date=February 2008 |title=Georg Herold |url=https://www.artforum.com/inprint/issue=200802 |format=PDF |language=en |magazine=Artforum |publisher=Artforum |accessdate=2 August 2017 |page=303 |url-access=subscription |quote="In his so-called caviar paintings, begun in 1989, […] Herold asks questions of material and spiritual value in a consistently more engaging manner and, as the display here shows, proves the depth of his attack by not flinching from taking his own work as a target.[…] Yet he cannot escape the rather obvious point that rather than destroying the valuable Beluga eggs, paintings such as ''Untitled'' increase their value by placing them in the luxury market for art."}}</ref><ref name="monopol" /><ref name="CAD">{{cite news|title=Georg Herold at Contemporary Fine Arts|url=http://www.contemporaryartdaily.com/2009/05/georg-herold-at-contemporary-fine-arts/|accessdate=2 August 2017|work=Contemporary Art Daily|date=14 May 2009}}</ref> Herold, through his frequently ironic critical works, makes an allusion to figures of authority, the art market, their artistic predecessors, and the prevailing culture questioning the whole purpose of art and even its context in the world at large.<ref name="Permission to Laugh" /><ref name="monopol" /><ref>{{cite web|title=Georg Herold, Albert Oehlen, Christopher Wool|url=http://www.renaissancesociety.org/exhibitions/356/georg-herold-albert-oehlen-christopher-wool-georg-herold-albert-oehlen-and-christopher-wool/|website=www.renaissancesociety.org|publisher=The Renaissance Society|accessdate=3 August 2017|date=1989}}</ref>
A sculpture composed of metal wire and wood, ''Genetischer Eingriff in die Erbmasse bei Frau Herold'' (n.n. tr. The Genetic Alteration of Mrs. Herolds DNA) (1985) depicts a DNA double-helix constructed from wire that descends from thin air to a wooden base. As it approaches the base, chunks of board wood of various lengths seem to interact with, interrupt, and distort the DNA strand at random.<ref>{{cite web|title=Museumsguide - Georg Herold, Genetischer Eingriff in die Erbmasse bei Fr. Herold, 1945/85|url=http://www.museumsguide.steiermark.at/cms/beitrag/11037185/35656053/?par=&action=J|website=www.museumsguide.steiermark.at|accessdate=9 August 2017}}</ref>
Herold's large canvas ''Untitled'' (1991) displays four dark, spiraling patterns made of Beluga caviar. The spirals resemble DNA molecules, and each caviar egg is painstakingly numbered.<ref name="Artforum Jean-Paul Stonard PDF">{{cite magazine |last1=Stonard |first1=Jean-Paul |date=February 2008 |title=Georg Herold |url=http://prod-images.exhibit-e.com/www_petzel_com/200802_Artforum_GH.pdf |language=en |magazine=Artforum |publisher=Artforum |accessdate=9 August 2017 |page=303}}</ref>
In ''Künstlerische Medizin, Patho-Ontologie (Cabinet patho-psychologique)'' (1995), Herold presents a collection of glass bottles and jars, each one labeled in a way that at a glance seems scientific and legitimate. Closer inspection reveals the label texts to be pseudoscientific and satirical.<ref name="Artforum Jean-Paul Stonard PDF" />
Punning on the political left and right wings, ''There is Nothing Left, There is No Right'' (1992) consists of two doors, each painted a neutral gray. One of them is marked "There is nothing left," the other emblazoned "There is no right." Viewers are invited to choose.<ref>{{cite web|last1=Buchmaier|first1=Barbara|title=Georg Herold at Museum Ludwig, Cologne|url=https://www.artforum.com/picks/id=19672|website=artforum.com|accessdate=9 August 2017}}</ref><ref name="Artforum Jean-Paul Stonard PDF" />
''Delivering the WOW'' (2005) is a plain linen canvas, from which protrude several unremarkable stacks of bricks, joined from end to end with white cement to create tall, narrow towers three bricks high.<ref name="mutualart2">{{cite web|last1=Stonard|first1=John-Paul|title=Georg Herold - MutualArt|url=https://www.mutualart.com/Article/Georg-Herold/9BA0153787DC25CF|website=www.mutualart.com|accessdate=9 August 2017|language=en|date=February 2008}}</ref><ref name="Artforum Jean-Paul Stonard PDF" />
With his sculpture series, ''Figur I-V'' (2007), Herold presents five larger-than-life surrealistic human figures composed of canvas stretched over lengths of timber, vibrantly tinted in solid primary colors with glossy auto-body paint. Slender and angular, long-limbed and lacking in facial features, these figures writhe and contort into arresting body positions, as if in extreme pain or ecstasy.<ref name="mutualart2" /><ref name="Artforum Jean-Paul Stonard PDF" />
''For Members Only'' depicts a big cardboard box with "For Members Only" written on the side. The setpiece is on a pedestal referring to the title of the work. <ref>{{cite news|last1=Gampert|first1=Von Christian|title=Das Teesieb in der Kunst. Retrospektive des Plastikers Georg Herold in Baden-Baden.|url=http://www.deutschlandfunk.de/das-teesieb-in-der-kunst.691.de.html?dram:article_id=48614|accessdate=9 August 2017|work=Deutschlandfunk|date=11 March 2005|language=de-DE}}</ref><ref name="Artforum Jean-Paul Stonard PDF" />
Since 1989,<ref name="prod-images" /> Herold has been creating abstract figures made of Beluga caviar,<ref name="Pagel" /> a sort of abstract expressionism<ref name="CAD" /> like the ''Untitled'' series (1991-).<ref name="Artforum Jean-Paul Stonard" /> He also portrayed different personalities like Mike Tyson,<ref name="Petzel Gallery Images">{{cite web|title=Georg Herold|url=http://www.petzel.com/artists/georg-herold/|website=www.petzel.com|publisher=Petzel Gallery|accessdate=2 August 2017}}</ref> Bertrand Russell, Lionel Richie, William Burroughs, Sean Penn, Barry White, Charles de Gaulle, Mark Lombardi<ref name="Frieze" /><ref name="Sunny Side Up">{{cite book|last1=Nedo|first1=Kito|title=Georg Herold: Sunny Side Up|date=2011|publisher=Contemporary Fine Arts|location=Berlin|isbn=978-3931355692}}</ref> and, he even has counted the number of fish eggs used for creating some of his ''caviar paintings''.<ref>{{cite journal|title=Georg Herold|url=https://frieze.com/article/georg-herold-0|journal=Frieze|date=13 September 2005 |issue=93 |accessdate=3 August 2017|language=en|last1=Christofori |first1=Ralf }}</ref>
Herold's sculpturing style is accepted as minimalism or Neo-Dada minimalism by art critiques,<ref name="Permission to Laugh" /> galleries<ref name="SFMoMA" /> and journalists.<ref name="NYTimes Art That Doesn't Care Too Much About Its Looks">{{cite news|last1=Smith|first1=Roberta|title=ART VIEW: Art That Doesn't Care Too Much About Its Looks|url=https://www.nytimes.com/1989/01/22/arts/art-view.html|accessdate=1 August 2017|work=The New York Times|date=22 January 1989|quote="To the left is Georg Herold's ''For Members Only,'' an exercise in what might be called neo-Dada minimalism - a work steeped in the present."}}</ref><ref>{{cite web|title=Georg Herold|url=http://www.saatchigallery.com/artists/georg_herold.htm|website=www.saatchigallery.com|publisher=The Saatchi Gallery|accessdate=2 August 2017|language=en}}</ref><ref>{{cite book|last1=John|first1=Caldwell|title=This is about who we are : the collected writings of John Caldwell|date=1996|publisher=San Francisco Museum of Modern Art|location=San Francisco, California|isbn=9780918471369|pages=137–138}}</ref> Herold's sculpted figures often are slightly distorted, filiforms, stretched to the point of breaking, often reaching towards something, pushing their body postures, while trapped in an unbearable state.<ref name="huffpost">{{cite news|last1=Gilois|first1=Bettina|title=The History of the Stick: Georg Herold's Path to Mastery|url=http://www.huffingtonpost.com/bettina-gilois/the-history-of-the-stick-_b_3188045.html|accessdate=2 August 2017|work=Huffington Post|date=8 May 2013}}</ref><ref name="prod-images">{{cite magazine |last=Campagnola |first=Sonia |title=Georg Herold |url=http://prod-images.exhibit-e.com/www_petzel_com/200905_06_Flash_Art_GH.pdf |magazine=Flash Art |date=May–June 2009 |accessdate=August 2, 2017}}</ref> Some of Herold's works include: ''G.O.E.L.R.O'' (1988), ''Hospitalismus'' (1989), ''The Bow'' (1989), ''Untitled'' (1990), ''Resteuropa (Rest of Europe)'' (1998), ''Rumsfeld'' (2004), ''Red Square'' (2005), ''Platz des himmlischen Friedens'' (2005), ''Lost in Tolerance'' (2006), ''Flamingo'' (2007). All these artworks are sculptures or installations made of bricks, canvas, laths, color lacquer and screws.<ref name="Petzel Gallery Images" /><ref name="SFMoMA" /><ref>{{cite book|last1=Bering|first1=Kunibert|last2=Niehoff|first2=Rolf|title=Visual proficiency - A perspective on art education|date=2015|publisher=Deutsche Nationalbibliothek|isbn=978-3-89896-774-7|pages=292–293|edition=1}}</ref><ref name="CAD2">{{cite news|title=Georg Herold at Gerhardsen Gerner|url=http://www.contemporaryartdaily.com/2013/06/georg-herold-at-gerhardsen-gerner-2/|accessdate=3 August 2017|work=Contemporary Art Daily|date=19 June 2013}}</ref>
In 1989 ''The New York Times'' reviewer found the figurative paintings of Herold, Martin Kippenberger and Rosemarie Trockel exhibited at the Solomon R. Guggenheim Museum making "little sense in a pictorial context"<ref>{{cite news|last1=Brenson|first1=Michael|title=Review/Art; 'The German Image'|url=https://www.nytimes.com/1989/02/10/arts/review-art-the-german-image.html?pagewanted=2|accessdate=1 August 2017|work=The New York Times|date=10 February 1989|quote=Although it is useful to see figurative paintings by Rosemarie Trockel, Georg Herold and Martin Kippenberger, who are known in New York for three-dimensional work, their paintings make little sense in a pictorial context.}}</ref> while in 1990, on the occasion of a group exhibition held at the Tony Shafrazi Gallery, another ''The New York Times'' reviewer found Herold's ''caviar paintings'' "seminal and astral".<ref>{{cite news|last1=Smith|first1=Roberta|title=Review/Art; Virtuoso Italian Drawings From the 18th Century|url=https://www.nytimes.com/1990/10/12/arts/review-art-virtuoso-italian-drawings-from-the-18th-century.html?pagewanted=2|accessdate=1 August 2017|work=The New York Times|date=12 October 1990|quote=Georg Herold, from Germany, splashes caviar onto canvas for a look that is both seminal and astral.}}</ref> In 2012 took place a New Art Dealers Alliance fair in Chelsea where Herold exhibited a 1989 caviar painting and an artwork made of bricks.<ref>{{cite news|last1=Rosenberg|first1=Karen|title=The NADA Art Fair in Chelsea|url=https://www.nytimes.com/2012/05/05/arts/design/the-nada-art-fair-in-chelsea.html|accessdate=3 August 2017|work=The New York Times|date=4 May 2012}}</ref>
===Film=== Herold played in ''Martin Kippenberger und Co – Ein Dokument. "Ich kann mir nicht jeden Tag ein Ohr abschneiden."'' (Martin Kippenberger and Co – A Document. "I can not cut my ears every day".), a 25-minute documentary, along with Albert Oehlen, Markus Oehlen, Werner Büttner, Hans Peter Adamski, Peter Bommels and Volker Tannert. The documentary was produced and directed by Jacqueline Kaess-Farquet.<ref name="FAZ" /><ref>{{cite news|title=Jacqueline Kaess-Farquet Filmscreening|url=http://www.lothringer13.de/halle_2006-10_archiv/archiv/halle/2010-filmscreening/einfuehrung.html|accessdate=2 August 2017|work=Städtische Kunsthalle München (Munich's Department of Arts and Culture)|date=2010}}</ref><ref>{{cite web|title=Martin Kippenberger und Co – Ein Dokument. Ich kann mir nicht jeden Tag ein Ohr abschneiden|url=http://www.independentartfilms.eu/martin_kippenberger.html|website=www.independentartfilms.eu|publisher=Independent Artfilms|accessdate=2 August 2017|language=de}}</ref> The ''Frankfurter Allgemeine Zeitung'' (''Frankfurt General Newspaper'') reviewer found that the artists had "ironic or even a bit of a bourgeois appearance".<ref name="FAZ">{{cite news|last1=Voss|first1=Julia|title=Die Kunst der Achtziger: Die Freiheit der "Genialen Dilletanten"|url=https://www.faz.net/aktuell/feuilleton/kunst/drei-ausstellungen-zur-kunst-der-achtziger-jahre-13714194.html|accessdate=2 August 2017|work=Frankfurter Allgemeine Zeitung (Frankfurt General Newspaper)|date=23 July 2015|language=de-DE}}</ref>
===Teaching=== Besides his artistic career, Georg Herold is also a professor at the Kunstakademie Düsseldorf in Düsseldorf. Between 1993–1999 Herold was a professor at the College of Fine Arts in Frankfurt.<ref name="gerhardsengerner" />
==Exhibitions== Herold has exhibited his artwork in museums and galleries across the US and Europe. These include: MoMA (New York), Gerhardsen Gerner (Oslo, Norway), Galerie Bärbel Grässlin (Frankfurt, Germany), Sadie Coles HQ Gallery (London, UK), Gabriele Senn Galerie (Vienna, Austria), Galerie Max Hetzler (Berlin, Germany), Sabine Knust Galerie & Maximilianverlag (Munich, Germany), Brooke Alexander Gallery (New York), Villa Arson Gallery (Nice, France), Air de Paris Gallery (Nice) et cetera.<ref>{{cite web|title=Georg Herold's Biography|url=http://www.gerhardsengerner.com/Artists/gh_bio.htm|website=www.gerhardsengerner.com|publisher=Gerhardsen Gerner|accessdate=3 August 2017}}</ref>
==Gallery== <gallery class="center" widths="200px" heights="200px"> Image:Nordhorn_Herold01.JPG|''Liquid relief/light relief'', 1997 </gallery>
==References== {{Reflist|2}}
==External links== * [http://www.petzel.com/artists/georg-herold/ Petzel Gallery: Georg Herold] * [http://www.saatchigallery.com/artists/georg_herold.htm Saatchi Gallery: Georg Herold] * [http://www.sadiecoles.com/artists/herold#gh-georg-herold-2011 Sadie Coles HQ Gallery: Georg Herold] * [https://www.moma.org/artists/2615?locale=en MoMa: Georg Herold] * {{DNB-Portal|119240181}} * {{DDB|Person|119240181}}
{{Authority control}}
{{DEFAULTSORT:Herold, Georg}} Category:German modern sculptors Category:1947 births Category:Living people Category:German contemporary artists Category:20th-century German painters Category:20th-century German male artists Category:German male painters Category:German male sculptors Category:German installation artists Category:Mixed-media artists