Sachgebiete

Beschreibung:

328 Seiten; sehr zahlr., überw. farbige Illustrationen; 26 cm; fadengeh., illustr. Orig.-Leinenband.

Bemerkung:

Gutes Exemplar; der Einband stw. nur gering berieben. - Englisch. - Sigmar Polke (* 13. Februar 1941 in Oels, Niederschlesien; ? 10. Juni 2010 in Köln) war ein deutscher Maler und Fotograf. Seine Malerei ist dem postmodernen Realismus zuzuordnen (Kapitalistischer Realismus) und zitiert Ausdrucksweisen der Pop Art, ohne dass er dieser Stilrichtung zuzurechnen ist. Seine Haltung zur Malerei enthält stark ironische Elemente. ? Sigmar Polke war Teilnehmer der Documenta 5 in Kassel im Jahr 1972 in der Abteilung Individuelle Mythologien. Auch auf der Documenta 6 (1977) und der Documenta 7 (1982) war er als Künstler vertreten. 1982 beteiligte er sich an der Gruppenausstellung Zeitgeist, 1984 an der Ausstellung Von hier aus - Zwei Monate neue deutsche Kunst in Düsseldorf und 1988 an der Ausstellung Made in Cologne. ? (wiki) // ... Having considered in some detail the historical, political, and cultural juncture surrounding the Sigmar Polke who looks at himself in the mirror of Goya, I think some further comments are now necessary, to enable us to address the interesting question of the suitability of painting in the contemporary art context and, in passing, to reflect on Polke's apparent comfort amid the vicissitudes of the modern world and the evident stability of his way of approaching the creative act over the years. This is significant because the 1980s were strikingly controversial in terms of the way certain artists reacted to the possible derailing of the modern project, which the intellectual world, as always largely spurious, so vociferously declaimed on all sides; strikingly controversial not only because of the imagery and the manners that these artists employed, but also because this was a financially explosive decade in which art, as a repository of value, was one of the most quoted assets. But the waters of contemporary art had already for some time (since the late 1960s) been flowing in a totally different direction, in perfect correlation with the cognitive break that was shaping the age. The idea of the alterity of the work of art in a supposedly predictable world had pushed creative artists toward an unendurable tedium and propitiated a scholastically rigorous theoretical fundamentalism alienated from the real concerns of the day, which were more involved with the whole than the parts and had cast off certainty in favor of the probable and the unexpected. Reconsidering the whole meant resuscitating the concept of landscape, but a landscape that had swallowed up its observers and could not be identified or described from a distance but only experienced from inside, with all its complex and random interdependence. Painting and sculpture redefined themselves in accordance with this new perspective and expanded their dimensions and widened the spectrum of their technical and compositional possibilities in order to absorb space as a primordial configurative element and make perception itself a motive, instead of regarding it as a mere vehicle of aesthetic sensibility. ... (S. 12) // INHALT : Gloria Moure Sigmar Polke. The Old Women or Time ------ Introduction ------ Apparitions and Phantoms ------ The Natural and the Inducer of Images ------ Between the Meaning and the Form ------ Visionary Transmutations ------ Mimetic Landscapes ------ The Skin of Time ------ Epilogue ------ Biography ------ Bibliography. ISBN 9788434313378