post-modern and contemporary painting in germany berlin wall, 1989, marking the end of the cold war

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Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

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Page 1: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Post-modern and contemporary painting in Germany

Berlin Wall, 1989, marking the end of the Cold War

Page 2: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Annihilation of Modern Art in Nazi Germany 1933- 45

(left) Ernst Ludwig Kirchner (German Expressionist,1880-1938) Girl Under a Japanese Umbrella, 1906; (right) Emil Nolde (German Expressionist, 1867-1956), Excited People, 1910; (below) Degenerate Art Exhibition, Munich, 1937

Page 3: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

The poster of the Degenerate Music exhibition (1938). Jewish Composers and Jazz/Swing musicians were, for instance, accused by the Nazis of producing "degenerated music"...

Marc Chagall, Purim, 1916-18, oil, 20 x 28 in, exhibited in Nazi Degenerate Art Exhibition

Composition with Blue, 1926Piet Mondrian, oil, 24 in. sq.“Degenerate Art”

Page 4: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

“Good German Art” – Socialist Realism (only)

Page 5: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Joseph Beuys (German, 1921-1986), (left) Fat Chair, 1964(right) Felt Suit, 1970; (center) Joseph Beuys the artist:

"The whole process of living is my creative act."

First German artist after WW II to achieve international fame based on exploration of his German identity

Page 6: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Joseph Beuys, How to Explain Paintings to a Dead Hare, performance on Nov. 26, 1965. Three hours talking about pictures in in the Galerie Schmela in Düsseldorf. The hare was one of Beuys’ totemic animals. Artist’s face was coated with honey and gold

leaf and one of his shoes had an iron heel: symbolic materials. Artist shaman

Page 7: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Joseph Beuys, The Pack (2 views), 1969. Volkswagen bus with twenty-four wooden sleds, each with felt, flashlight, fat and stamped with brown oil paint

Page 8: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Joseph Beuys, I Like America and America Likes Me, performance, “Action,” René Block Gallery, NYC, May, 1974

The Dionysian versus the Apollonian

Page 9: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Beuys, Honey Pump at the Workplace for Documenta, 1977, electric motors pumped honey through a gigantic assemblage of pipes in the stairwell of the museum,

symbolizing the circulation of life and flowing energy.

Page 10: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

(left) Beuys lecturing in New York, 1974, about the social revolution to be led by artists (everyone); (right) Beuys, Action Piece, 26-6 February 1972; presented as part of exhibition held at the Tate Gallery February - March 1972. Drawings are acts of mind: mapping mental processes toward transformative personal and social consciousness.

"Man is only truly alive when he realizes he is a creative, artistic being.“

Page 11: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Beuys inaugurating 7000 Oaks at Documenta 7, Kassel, Germany, 1982. Project completed after artist’s death; the last tree was planted by his son at the opening of Documenta 8 in 1987

Beuys was a founding member of the Green Party

Page 12: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Beuys’ 7000 Oak project extended by the Dia Foundation in 1996. Trees (of several kinds) planted on West 22nd Street, each paired with a basalt stone column

NYC students planting trees: “Social Sculpture”

Page 13: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Anselm Kiefer (German b. 1945), Occupations, one in photographic series, 1969 (artist is 24); (right) Kiefer, Heroic Symbols, 1969 watercolor and gouache on paper, left sheet:

6 in. sq., right sheet: 22 x 16 in.

This small self-portrait of the artist giving the Nazi salute is pasted on the same sheet as the watercolor of the sky, which, according to the artist, has been wounded by shots.

Taken in Italy and France

Page 14: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Anselm Kiefer The Milky Way, 1985-87Emulsion paint, oil, acrylic, shellac on canvas with applied wires and lead, 12ft 6 in H

Gotterdammerung

Page 15: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Anselm Kiefer, Inner Room, 1981 with (left) source photo of Nazi meeting room, Albert Speer architect

Page 16: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Kiefer, Your Golden Hair, Margarete, 1981, oil, emulsion, and straw on canvas, 51 x 67”

Page 17: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Anselm Kiefer Twilight of the West [Abendland] 1989, lead sheet, synthetic polymer paint, ash, plaster, cement, earth, varnish on canvas and wood, 13 feet H

Gotterdammerung

Page 18: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Gerhard Richter and Konrad Lueg, Living With Pop, 1963: a performance of “Capitalist Realism”: Düsseldorf artists mounted an installation of objects in a local department store and installed themselves with the commodities as a demonstration of "Capitalist Realism."

To what situations for artists does "Capitalist Realism" respond?

Page 19: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

(left) Richter and Sigmar Polke, 1965, from Richter/Polke exhibition catalogue(right) Richter, 1998, from Gerhard Richter: 40 Years of Painting exhibition cat.

Page 20: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Gerhard Richter (b. Dresden, 1932), [Nazi officer] Uncle Rudi, 1965, oil on canvas(right) Administrative Building, 1964, Oil on canvas, 38 1/4 x 59 “

photo sources – family snapshot and encyclopedia sourcesSee Jason Gaiger, “Post-conceptual painting: Gerhard Richter’s extended leave-taking”

“One has to believe in what one is doing, one hasto commit oneself inwardly, in order to do paintingonce obsessed, one ultimately carries it to the pointof believing that one might change human beings through painting. But if one lacks this passionate commitment there is nothing left to do. Then it is best to leave it alone. For basically painting is total idiocy.”

- Richter

Page 21: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Richter, Aunt Marianne, oil on canvas, 1965, 47 x 51 infrom a photograph of Richter as a baby with Aunt Marianne

“Whenever I behaved badly I was told you will become like crazy Marianne.”

Page 22: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Richter, Phantom Interceptors, 1964, oil on canvas, 55" x 6' 3“(right) Alpha Romeo (With Text), 1965, oil on canvas, 60 x 59”

Page 23: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Richter, Eight Student Nurses, 1966, oil on canvas, 8 paintings each c. 36 x 27 in

Page 24: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Compare Richter with Andy Warhol, Jackie: The Week That Was, 1963

Page 25: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Richter, October 18, 1977: Baader-Meinhof series, Confrontation 1 and 2, 1988oil on canvas, all 45” H. Series based on media photographs of members of the terrorist

Red Army Faction: their arrest, imprisonment and death.

Page 26: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

October, 1977, Protesters in Stuttgart at funeral of Andreas Baader

Page 27: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War
Page 28: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Final paintings in Richter’s October 18, 1977Baader-Meinhof series titled Tote 1, 2, and 3

Page 29: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

(left) Richter, Abstract Painting, 1976, oil on canvas, 26 x 23 in.

“After the gray paintings, after the dogma of ‘fundamental painting’ whose purist and moralizing aspects fascinated me to a degree bordering on self-denial, all I could do was

start all over again. This was the beginning of the first color sketches.”

Compare: Rauschenberg, Factum I & II, 1957

Page 30: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

(left) Richter, Iceberg in Fog, 1982, oil on canvas, 27 x 39 incompare (right) Caspar David Friedrich (German Romanticism, 1774-1840)

(top) Monk by the Sea (1809) and (bottom) Polar Sea (1823)

Page 31: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Richter, Untitled, 1987, oil on canvas, 118” square

Page 32: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Richter, Betty, 1988, oil on canvas, 40 x 23“ compare (right) Untitled, 1987

“Painting is the form of the picture, you might say. The picture is the depiction, and painting is the technique for shattering it.”

Page 33: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Sigmar Polke (German, b. 1941), Modern Art, 1968(right) Polke, Lovers II, 1965, oil and enamel on canvas, 6 ft 3 in x 55 in

Page 34: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Sigmar Polke, Bunnies, 1966, acrylic on linen, 58 x 39”

Lichtenstein, coverOf Newsweek, 1966

Warhol, "Marilyn," 1964

Page 35: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Sigmar Polke, Alice in Wonderland, 1971, mixed media on fabric strips, 10ft 6in x 8ft 6 in

Page 36: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Polke, from Watchtower series, 1984, synthetic polymers on various fabrics

Page 37: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Polke, The Spirits That Lend Strength Are Invisible III (Nickel), 1988, nickel and artificial resin on canvas, 157in. x 118 in. Collection SFMOMA

Page 38: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Sigmar Polke, Mrs. Autumn and Her Two Daughters, 1991, artificial resin and acrylic on synthetic fabric, 9ft 10in x 16ft 5in

Page 39: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Georg Baselitz (Hans-Georg Kern, b. Dresden, Germany,1938) The New Type, 1966, woodcut, 42 x 34 in

compare (center below) Emil Nolde, The Prophet, 1912, woodcut;(right) Erich Heckel (German, 1883–1970) Woman, 1914, woodcut

1966 Neo-Expressionism1912

1914

German Expressionism

Page 40: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Baselitz, The Gleaner, oil and tempera on canvas, 130 x 98 in, 1978

Van Gogh, The Gleanerink drawing, 1885

Page 41: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Baselitz, Lazarus, 1984

Page 42: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Baselitz with Neo-Expressionist (Neo-Primitivist) sculpture, Man (1980s) and source in Sudanese traditional sculpture

(right) Kirchner (German Expressionist), Dancer, 1914

Page 43: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

A.R. Penck, (right) Penck, Standart, 1971 (left) The Work Goes On, 1982, woodcut

Page 44: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Jörg Immendorff (b. 1941 Silesia, East Germany), Can one change anything with these?, 1972, acrylic on canvas, 20 x 31 ½ in

Joseph Beuys, How to Explain Pictures to a Dead Hare, 1965, Dusseldorf. Immendorff’s teacher

Page 45: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Jörg Immendorff, Café Deutschland I, 1978, oil on canvas, 280 x 320 cm

Page 46: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Compare Expressionism of Max Beckmann (left), Night, 1917-18 with Neo-Expressionism of Immendorff, Café Deutschland I, 1978

What (form and content) do they have in common?

Page 47: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Immendorf, Café Deutschland IV, 1978, oil on canvas, 111 x 130 in.Dystopia

Blade Runner, film still, 1982

Page 48: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Immendorff, Café Deutschland – Cafeprobe, 1980synthetic resin on canvas, 280 x 350 cm

Page 49: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Jörg Immendorff, Café Deutschland, 1984, oil, 285cmH

Page 50: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Leipzig group, 2006: from left: Tilo Baumgärtel, Christoph Ruckhärberle, Martin Kobe, Matthias Weischer and David Schnell

"If you want to talk of an advantage, you can say it [the “Iron Curtain”] allowed us to continue in the tradition of Cranach and Beckmann. It protected the art against the

influence of Joseph Beuys.“ [What do they mean?]

Page 51: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Max Beckmann (German, 1884-1950), Departure, 1932

Beckmann at MoMANYC, 1947, in frontof Departure

Page 52: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Lucas Cranach the Elder (German, 1472-1553), The Golden Age, 16th Century

Page 53: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Neo Rauch (b. 1960, Leipzig, Germany, lives and works in Leipzig) shown in studio before one of his paintings

Page 54: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Neo Rauch, Das Neue, 2003

"It is important to create a definite environment or stage on which things can happen. For me, the function of painting as I understand it is to work with myths. I try to create a widespread system where impulses are trapped. With an analytic understanding, you

can't grasp it."

Giorgio di Chirico, (Italian 1888-1978) Philosopher’s Conquest,1913 (compare)

Page 55: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

(right) Neo Rauch, Diktat, 2004(left top) Balthus (French, 1908–2001) The Mountain, 1937, oil on canvas, 98 x 144 in

(left below) René Magritte (Belgian, 1898-1967), The Menaced Assassin, 1926

Page 56: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Tilo Baumgaertel, Hydroplane, oil on linen, 200 x 300 cm, 2002

Page 57: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Christoph Ruckhäberle (Germany, b.1972), Lake at Sunset, 2004, oil on canvas, 279 x 381cm

“Cribbed from all the best bits of art history…” - Saatchi Gallery publicist

E.L. Kirchner, 1909

Cézanne, 1876

Page 58: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

David Schnell, Bretter (Wooden Planks), oil on canvas, 2005

Page 59: Post-modern and contemporary painting in Germany Berlin Wall, 1989, marking the end of the Cold War

Leipzig school Tim Eitel, (left) Bomber Jacket, 2003

(right) Film, 2003