Sigmar Polke
Sigmar Polke | |
---|---|
Born | |
Died | 10 June 2010 Cologne, Germany | (aged 69)
Education | Kunstakademie Düsseldorf |
Known for | Painting, Photography |
Movement | Capitalist realism |
Awards | Rubens Prize of the City of Siegen (2007) |
Sigmar Polke (13 February 1941 – 10 June 2010) was a German painter and photographer.
Polke experimented with a wide range of styles, subject matters and materials. In the 1970s, he concentrated on photography, returning to paint in the 1980s, when he produced abstract works created by chance through chemical reactions between paint and other products. In the last 20 years of his life, he produced paintings focused on historical events and perceptions of them.
Life
Polke, the seventh in a family of eight children,
Upon his arrival in West Germany, in Willich near Krefeld, Polke began to spend time in galleries and museums and worked as an apprentice in a stained glass factory in Düsseldorf between 1959 and 1960, before entering the Kunstakademie Düsseldorf (Arts Academy) at age twenty. From 1961 to 1967 he studied at the Düsseldorf Arts Academy under Karl Otto Götz, Gerhard Hoehme and deeply influenced by his teacher Joseph Beuys. He began his creative output during a time of enormous social, cultural, and artistic changes in Germany and elsewhere. During the 1960s, Düsseldorf, in particular, was a prosperous, commercial city and an important centre of artistic activity. In the early 1970s Polke lived at the Gaspelhof, an artists' commune.
From 1977 to 1991, he was a professor at the Academy of Fine Arts, Hamburg. His students included, among others, Georg Herold. He settled in Cologne in 1978, where he continued to live and work until his death in June 2010 after a long battle with cancer.[3]
Work
In 1963, Polke founded the painting movement "Kapitalistischer Realismus"[4] ("
Photography
In 1966–68, during his most conceptual period, Polke used a Rollei camera to capture ephemeral arrangements of objects in his home and studio.[6] In 1968, the year after he left the art academy, Polke published these images as a portfolio of 14 photographs of small sculptures he had made from odds and ends—buttons, balloons, a glove. From 1968 to 1971, he completed several films and took thousands of photographs, most of which he could not afford to print.[1]
During the 1970s, Polke slowed his art production in favor of travel to Afghanistan, Brazil, France, Pakistan, and the U.S., where he shot photographs (using a handheld 35mm Leica camera)[7] and film footage that he would incorporate in his subsequent works during the 1980s. In 1973 he visited the U.S. with artist James Lee Byars in search of the "other" America; the fruit of that journey was a series of manipulated images of homeless alcoholics living on New York's Bowery.[8] He produced an additional series of photographic suites based on his journeys to Paris (1971), Afghanistan and Pakistan (1974) and São Paulo (1975), often treating the original image as raw material to be manipulated in the dark room, or in the artist's studio. Beginning with his 1971 Paris photographs printed using chemical staining to create works full of strange presences[9] while under the influence of LSD, Polke exploited the photographic process as a means to alter "reality."[10] He combined both negatives and positives with images that had both vertical and horizontal orientations. The resulting collage-like compositions take advantage of under- and overexposure and negative and positive printing to create enigmatic narratives.[7] With the negative in his enlarger, the artist developed large sheets selectively, pouring on photographic solutions and repeatedly creasing and folding the wet paper.[11]
Completed in 1995 in collaboration with his later wife Augustina von Nagel, a suite of 35 prints entitled "Aachener Strasse" combine street photography with images from Polke's paintings, developed using techniques of multiple exposures and multiple negatives.[1]
Painting
Polke's early work has often been characterised as European Pop art for its depiction of everyday subject matter—sausages, bread and potatoes—combined with images from the mass media. His "Rasterbilder" from that period are works that exploit the raster-dot technique of printing as a way as of subverting and bringing into question the apparent truth, validity and purpose of the media images that his paintings appropriate.[12] He imitated the dotted effect of commercial newsprint by painstakingly painting each dot with the rubber at the end of a pencil.[13] In works such as Carl Andre in Delft (1968), the Propellerfrau (1969) or, later, Protective Custody (1978) Polke used a canvas made of furnishing fabric, thus elevating it to the status of a visual motif.[14] His creative output during this time of enormous social, cultural, and artistic changes in Germany and elsewhere, demonstrate most vividly his imagination, sardonic wit, and subversive approach in his drawings, watercolors, and gouaches produced during the 1960s and 1970s. Embedded in these images are incisive and parodic commentaries on consumer society, the postwar political scene in Germany, and classic artistic conventions.[15]
Returning to painting in the 1980s, he maintained his interest in alchemical properties.
In 1994, he produced The Three Lies of Painting, where a landscape containing a mountain and a tree is intercut with abstract devices before succumbing to the intrusive presence of a large, vertical strip of printed fabric. It is festooned with multicoloured hands, suggesting once again that Polke wants to emphasise the artist's own manipulative.[19] In the mid-1990s Polke began to work on a new series called Druckfehler, or 'Printing Mistakes', inspired by printing errors found in newspapers. Fascinated by the relationship between the random mistake and the original image, Polke would enlarge and manipulate the distorted newsprint. He then paints the image onto a polyester surface with the aid of a projector, and coats it in layers of resin. Buried within this elaborate surface are sheets of gold mesh, creating yet another filter through which the image must be read.[20] In a few cases, Polke "manufactured" these so-called mistakes; the elongated figures in Aus 'Lernen neu zu Lernen' (From 'Learning to Learn Anew') (1998) are the result of his having dragged a picture through a photocopier.
In 2002, Polke developed a new technique of 'machine painting'. These are his first completely mechanically-produced paintings and are made by tinting and altering images on a computer and then photographically transferring them onto large sheets of fabric. Up until this point Polke had rejected mechanical processes, preferring to explore the visual effects of mechanical technology by hand.[21]
From 2007, Polke continued to develop and refine his "Lens Paintings" series.[5] The conceptual framework of the Lens Paintings is grounded in theories set forth by monk Johann Zahn in a 1685 book on a "teledioptric artificial eye", a forerunner of the telephoto lens. Polke's painted "lens" generates a variety of distortions, mutations and spatial illusions when seen from different viewpoints.[citation needed]
Films
When asked to participate in Konrad Fischer's museum exhibition "Konzeption/Conception" (1969) at
Commissioned works
For the reopening of the
Exhibitions
Polke had his first one-person show at
By the latter years of his life, Polke's artistic achievements were being recognised in large-scale exhibitions around the world, with solo shows at
Legacy
Through his numerous high-profile exhibitions, Polke exerted an international influence, affecting somewhat younger artists such as his compatriots Martin Kippenberger and Albert Oehlen, Lara Schnitger (Dutch-American artist), the Americans Richard Prince, Julian Schnabel and David Salle, and the Swiss duo Fischli & Weiss.[27][28] The artist John Baldessari described Polke as an "artist's artist".[29] Today, Polke is often grouped with Gerhard Richter because both came of age and experimented in West Germany in the 1960s.[29]
Art market
Polke achieved early success for his paintings and drawings of consumer goods.
The Estate of Sigmar Polke has been established by his heirs—his widow, artist Augustina Baroness von Nagel, daughter Anna Polke, and son Georg Polke—to build up an archive in the artist's Cologne studio. The Estate also administers the artist's intellectual property rights. A Catalogue Raisonné of paintings, photographs and works on paper is currently being prepared by the Estate.[36]
Awards
- 1964: "Neodada Pop Decollage Kapitalistischer Realismus", Galerie René Block, Berlin; Awarded the Young Germans award in Baden-Baden with Klaus Geldmacher and Dieter Krieg
- 1975: Awarded the prize for painting at the XIII Bienal de São Paulo
- 1986: Awarded a "Golden Lion" at the XLII Biennale di Venezia (shared with Frank Auerbach)
- 1988: Awarded the 1988 Baden-Württemberg International Prize for Painting
- 1994: Awarded the "Erasmus Prize" (Amsterdam)
- 1995: Carnegie Prize at the Carnegie International, Pittsburgh, Pennsylvania
- 1998: International Center of Photography, Infinity Award for Art; P.S.1 Contemporary Art Center, New York
- 1999: Wolf Prize (which he refused to accept)
- 2000: Awarded the "Goslarer Kaiserring", Goslar, Germany
- 2002: "Praemium Imperiale" awarded by the Japan Art Association, Tokyo
- 2007: Awarded the "Rubens Prize" (Siegen, Germany)
- 2008: Foreign Honorary Member in the Field of Visual Arts, American Academy of Arts and Sciences
- 2009: Honorary Member in the American Academy of Arts and Letters
- 2010: Awarded the "Roswitha Haftmann Prize", Zürich
See also
References
- ^ a b c d Kristine McKenna (3 December 1995), Sigmar Polke's Layered Look : The photographs of the influential German are hard to pin down—as is the artist himself Los Angeles Times.
- ^ Foster, Hal (2014). "At MoMA". London Review of Books. 36 (12): 36. Retrieved 13 June 2014.
- New York Times.
- , Druckgrafik bis 1971
- ^ a b c Schudel, Matt (13 June 2010). "German artist Sigmar Polke, creator of 'Higher Beings Command,' dies at 69". The Washington Post. Retrieved 17 November 2014.
In the 1960s, Mr. Polke was at the vanguard of a German artistic movement called capitalist realism, along with fellow painter Gerhard Richter – who later expressed reservations about his colleague's work, saying "he refuses to accept any borders, any limits."
[dead link] - ^ Raphael Rubinstein (27 August 2011), Sigmar Polke Art in America Magazine.
- ^ a b Sigmar Polke: Photographs, 1968–1972, February 20 – May 20, 2007 Getty Center, Los Angeles.
- ^ Kristine McKenna (3 December 1995), Sigmar Polke's Layered Look : The photographs of the influential German are hard to pin down—as is the artist himself Los Angeles Times.
- ^ a b Sigmar Polke Art Gallery of New South Wales, Sidney.
- ^ Sigmar Polke, Quetta, Pakistan (1974) Christie's Contemporary Art Evening Sale, 16 November 1999, New York.
- ^ Sigmar Polke, Untitled (1975) Metropolitan Museum of Art, New York.
- ^ Sigmar Polke, Strand (1966) Christie's Post-War and Contemporary Art Evening Sale, 8 February 2007, London.
- ^ a b Sigmar Polke: History of Everything, October 2, 2003 – January 4, 2004 Tate Modern, London.
- ^ Sigmar Polke: The Three Lies of Painting, 7 June – 12 October 1997 Archived 7 September 2011 at the Wayback Machine Kunst- und Ausstellungshalle Bonn.
- ^ Sigmar Polke: Works on Paper 1963–1974, MOMA; ISBN .
- New York Times.
- ^ Sigmar Polke Guggenheim Collection.
- ^ Sigmar Polke: Painting as a Game without Limits Goethe-Institut.
- ^ Sigmar Polke The Times.
- ^ Sigmar Polke: History of Everything, October 2, 2003 – January 4, 2004 Tate Modern, London.
- ^ Sigmar Polke: History of Everything, October 2, 2003 – January 4, 2004 Tate Modern, London.
- ^ Jörg Heiser, Cosmic Rays Archived 15 May 2011 at the Wayback Machine Frieze, Issue 110, October 2007.
- ^ Smith, Roberta (11 June 2010). "Sigmar Polke, Whose Sly Works Shaped Contemporary Painting, Dies at 69". The New York Times.
- ^ Obituary: Sigmar Polke The Daily Telegraph.
- ^ Sigmar Polke – In praise of doubt Palazzo Grassi, Venice.
- ^ "Alibis: Sigmar Polke 1963–2010 – MoMA". moma.org/.
- New York Times.
- ^ Christopher Masters (14 June 2010), Sigmar Polke obituary The Guardian.
- ^ New York Times.
- ^ Hilarie M. Sheets (9 October 2015). "Polke Estate to Dealer". The New York Times. Retrieved 9 October 2015.
- ^ "Sigmar Polke (b. 1941), Strand". christies.com.
- Wall Street Journal.
- ^ Sigmar Polke, Untitled (São Paulo Series) (1975) Christie's Post-War and Contemporary Art Evening Sale,8 February 2006.
- New York Times.
- New York Times.
- ^ "Estate of Sigmar Polke". sigmar-polke.de. Archived from the original on 16 June 2013.
External links
Media related to Sigmar Polke at Wikimedia Commons