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An exceptional art historian has left us. On 14 July, Lothar Romain died in Berlin. He had been president of the University of the Arts there since 1996. He achieved great things in those years, but even before, he never shied from being part of a committee, nor from cultural policy or cultural administration. He always understood social integration and artistic autonomy as the poles between which his career biography was spanned. He was an AICA member for a quarter century.
Born in 1944, Romain studied art history, German, theater and philosophy in Cologne. As an editor at Südwestfunk radio, he got to know the practical side of cultural mediation. Subsequently, he served as consultant for the SPD party leadership in the “barracks,” after which he was features editor at the magazine “Vorwärts.” Beginning in 1991, Romain taught at the Art Academy in Munich. As president of the Berlin University of the Arts, he was later elected as the spokesman for all German art academies.
The list of his functions and honors is lengthy, but dates and positions create an insufficient picture, especially of this art historian. For three decades, Romain stood, without any actionism, as one of the great inciters, advisors, and provocateurs on the behalf of art. Twice, he was my most important dialog partner on the way to Documenta 6 and 8. Time and again during the 30 years in which we were friends, his bold, enterprising spirit for change took aim at projects which set precedents. In the 1970s he and Rolf Wedewer invented the socially-focused, analytical, thematic exhibition. As curator, he oversaw the first retrospective of “Positionen” (“Positions”) of West German painting in the then-GDR (1986), as well as the collected German outdoor sculpture “Bis Jetzt” (“Until Now”) in Hanover (1990). What didn’t he initiate, organize, and see through with his level-headed energy! The sorely missed publication “Orte – Kunst für öffentliche Räume” (“Places – Art for Public Spaces”) was also his brainchild. He brought other magazines into play ahead of their time or under poor conditions.
Romain therefore experienced even greater satisfaction with his boldest, most ambitious journalistic idea, realized jointly with Detlef
Bluemler in 1988 and which both have developed successfully. Under the title “Künstler. Kritisches Lexikon der Gegenwartskunst” (“Artists. A Critical Encyclopedia of Contemporary Art“), it continues to exist and is thriving in its 17th year of publication. It has grown to over 500 volumes: a unique, forward-thinking encyclopedic compendium. A number of art awards can also be attributed to Lothar Romain’s gentle power of persuasion. Enough to fulfill an art historian’s life on their own! In addition, he wrote ca. 30 books, including important monographs on Warhol, Heiliger and Bernard Schultze, as well as countless catalog essays and other articles on contemporary art. His contemplative style reflects the genre’s views, and gives lasting clarity to its reflections. For many young artists, he was the first author or opening speaker to give their self-image a firm basis. Altogether, this was much more than simply a prelude to the presidency of the University of the Arts which, in its current form, is Romain’s final great contribution to a new foundation. The overextended, barely operable institute has him to thank for its modernization and viability, especially the streamlining of the eleven departments into four faculties. Many will miss him. Not only the president, but also the good friend.
Cologne, July 2005
MANFRED SCHNECKENBURGER
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