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Alibis : Sigmar Polke 1963-2010 by Kathy Halbreich (2014, Hardcover)
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- Buy it nowAlibis : Sigmar Polke 1963-2010 by Kathy Halbreich (2014, Hardcover)
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Item specifics
- Condition
- ISBN
- 9780870708893
About this product
Product Identifiers
Publisher
Museum of Modern Art
ISBN-10
0870708899
ISBN-13
9780870708893
eBay Product ID (ePID)
177578279
Product Key Features
Book Title
Alibis : Sigmar Polke 1963-2010
Number of Pages
320 Pages
Language
English
Publication Year
2014
Topic
Individual Artists / General
Illustrator
Yes
Genre
Art
Format
Hardcover
Dimensions
Item Height
1.3 in
Item Weight
77.6 Oz
Item Length
12.2 in
Item Width
9.8 in
Additional Product Features
Intended Audience
Trade
Reviews
This year's Sigmar Polke retrospective at the Museum of Modern Art, the first full-scale evaluative look at this German artist since his death in 2010, was one of the outstanding solo shows of the year. The catalog is fully up to the occasion, a fitting souvenir of an artist who, in our era of look-at-me objects and brand-name painting, stayed mercurial, slippery, slef-mocking and signature-free. With the market being the luxe-item operation it is, you can easily imagine Polke's recessive reputation going into temporary eclipse. So grab the book now. It's a keeper., Surely one of the towering figures of postwar art, Polke (1941-2010) is feted here in a major retrospective, spanning nearly five decades of his prodigious output- from his days as cofounder of Capitalist Realism (along with Gerhard Richter and Konrad Lueg) until his death three years ago., Surelly on of the towering figures of postwar art, Polke (1941- 2010) is feted here in a major retrospective, spanning nearly five decades of his prodigious output from his days as cofounder of Capitalist Realism (along with Gerhard Richter and Konrad Lueg) until his death three years ago., "Alibis: Sigmar Polke 1963-2010," a wondrous retrospective of the late German artist's work at the Museum of Modern Art, is the most dramatic museum show of the century to date. It may also be the most important, if its lessons for contemporary art, both aesthetic and ethical, are properly absorbed., One of the towering figures of postwar art, Polke (1941-2010) is feted here in a major restrospective, spanning nearly five decades of his prodigious output-from his days as cofounder of Capitalist Realism (along with Gerhard Richter and Konrad Leug) until his death three and a half years ago. A shape-shifter of styles and mediums, Poke created work that was a delirious melange of Pop Art and painterly Expressionism., The catalogue of the current retrospective, "Alibis: Sigmar Polke, 1963-2010," mounted by the Museum of Modern Art in New York and the Tate Modern in London, includes numerous scholarly essays by art historians and curators along with illuminating appreciations by artists. It seems that once the artist was no longer around to refuse to answer questions or guard his privacy, his audience was granted permission to dig into his history, to turn over every rock, or, to use an especially Polkian metaphor, to go hunting for the mushroom that will provide magical revelations., In the book's lead essay, curator Kathy Halbreich proposes that Polke studiosly avoided any signature style or medium "so that his easthetic method...enacted the role of an alibi"... And Polke's work is self-evidently open, experimental, and reveling in possibility., Germany produced at least one comic genius in the 20th century, as MoMA's Sigmar Polke retrospective demonstrates., Polke (1941-2010) is feted here in a major retrospective, spanning nearly five decades of his prodigious output- from his days as cofounder of Capitalist Realism (along with Gerhard Richter and Konrad Lueg) until his death three years ago., Polke's relentless undermining of higher truths extended to his own art, in which there are no conclusions, only multiplicities of images, ideas and meanings. The result might be labeled the Polke Effect: baffling, exhausting and ultimately, liberating., One of the towering figures of postwar art, Polke (1941-2010) is feted here in a major restrospective, spanning nearly five decades of his prodigious output--from his days as cofounder of Capitalist Realism (along with Gerhard Richter and Konrad Leug) until his death three and a half years ago. A shape-shifter of styles and mediums, Poke created work that was a delirious melange of Pop Art and painterly Expressionism., The Museum of Modern Art has now brought together, in one of the largest shows it has assembled, the most complete overview of Polke's art that any museum has attempted. It is a remarkable and challenging event. Polke was funnier, brainier, and more ferocious in his need to experiment than, it can seem, many artists are... The present show, organized by Kathy Halbreich, who began working with the artist on it in 2008 (and has contributed a probing and sensitive essay in the catalog), underscores the multifariousness of Polke's art by presenting aspects of seemingly everything he did., Has any artist of the last fifty years more successfully combined relentless material innovation, slyly subtle wit, and voracious cultural rummaging than Sigmar Polke?
Synopsis
Working across an unusually broad range of media, including painting, photography, film, drawing and sculpture, Sigmar Polke (German, 1941-2010) is widely regarded as one of the most influential and experimental artists of the post-war generation. Published in conjunction with an exhibition at The Museum of Modern Art, this richly illustrated publication provides an overview of Polke's cross-disciplinary innovations and career. It features more than 500 illustrations and 18 contributions by scholars and artists that examine the full range of Polke's exceptionally inventive oeuvre. Authors such as exhibition curators Kathy Halbreich, Mark Godfrey and Lanka Tattersall, artists John Kelsey and Jutta Koether, and renowned professors Benjamin Buchloh and Christine Mehring discuss a wide range of topics that include Polke's engagement with German history, abstraction and the paranormal, his continuous questioning of conventional artistic disciplines and social norms, and his experiments with materials and tools as diverse as toxic pigments, patterned fabrics, images taken from a vast range of sources, and the Xerox machine. Four lead essays trace broad themes in Polke's work across mediums and across his career, while twelve shorter texts each focus on a single work or aspect of Polke's practice, which allows for a concentrated consideration of critical issues such as Polke's use of language or textiles that have never been discussed before in any depth. A richly illustrated chronology presents a cultural frame for Polke's work and an interview with Benjamin Buchloh offers insight on Polke's first retrospective, held in 1976. The catalogue includes contributions by a wide range of authors with great expertise, most of whom have never published on Polke before, thus broadening the scope of scholarship on Polke and offering new thinking about this chameleon-like artist., Working across an unusually broad range of media, including painting, photography, film, drawing and sculpture, Sigmar Polke is widely regarded as one of the most influential and experimental artists of the post-war generation. His irreverent wit and promiscuous intelligence, coupled with his exceptional grasp of the properties of his materials, provided the foundation for his punishing critiques of the conventions of art history and social behavior. Experimenting wildly with materials and tools as varied as meteor dust and the xerox machine, Polke made work of both an intimate and monumental scale, drawn from sources as diverse as newspaper headlines and D rer prints. Polke avoided any one signature style, a fluid method best defined by the word "alibi," which means "in or at another place." This also is a reminder of the deflection of responsibility which shaped German behavior during the Nazi period, compelling Polke's generation to reinvent the role of the artist. Published in conjunction with Alibis: Sigmar Polke 1963-2010 , the first exhibition to encompass the artist's work across all media, this richly illustrated publication provides an overview of his cross-disciplinary innovations and career. Essays by Kathy Halbreich, Associate Director of The Museum of Modern Art; Mark Godfrey, Curator of International Art, Tate Modern; and a range of scholars and artists examine the full range of Polke's exceptionally inventive oeuvre and place his enormous skepticism of all social, political and artistic conventions against German history. Sigmar Polke (1941-2010) was born in Oels, in eastern Germany, now Olesnica in present-day Poland. At the end of World War II, Polke and his family fled to East Germany and, in 1953, escaped to D sseldorf, where he was trained as a glass painter and subsequently studied at the Kunstakademie D sseldorf. Since the late 1960s, Polke's work has been shown widely, including solo exhibitions at European and American museums. His last major work was a commission for 12 stained glass windows of the Grossm nster in Zurich, Switzerland, completed in 2009., The first major publication on Polke since 1997, and the first ever to show Polke's work across all media., Working across an unusually broad range of media, including painting, photography, film, drawing and sculpture, Sigmar Polke is widely regarded as one of the most influential and experimental artists of the post-war generation. His irreverent wit and promiscuous intelligence, coupled with his exceptional grasp of the properties of his materials, provided the foundation for his punishing critiques of the conventions of art history and social behavior. Experimenting wildly with materials and tools as varied as meteor dust and the xerox machine, Polke made work of both an intimate and monumental scale, drawn from sources as diverse as newspaper headlines and Dürer prints. Polke avoided any one signature style, a fluid method best defined by the word "alibi," which means "in or at another place." This also is a reminder of the deflection of responsibility which shaped German behavior during the Nazi period, compelling Polke's generation to reinvent the role of the artist. Published in conjunction with Alibis: Sigmar Polke 1963-2010 , the first exhibition to encompass the artist's work across all media, this richly illustrated publication provides an overview of his cross-disciplinary innovations and career. Essays by Kathy Halbreich, Associate Director of The Museum of Modern Art; Mark Godfrey, Curator of International Art, Tate Modern; and a range of scholars and artists examine the full range of Polke's exceptionally inventive oeuvre and place his enormous skepticism of all social, political and artistic conventions against German history. Sigmar Polke (1941-2010) was born in Oels, in eastern Germany, now Olesnica in present-day Poland. At the end of World War II, Polke and his family fled to East Germany and, in 1953, escaped to Düsseldorf, where he was trained as a glass painter and subsequently studied at the Kunstakademie Düsseldorf. Since the late 1960s, Polke's work has been shown widely, including solo exhibitions at European and American museums. His last major work was a commission for 12 stained glass windows of the Grossmünster in Zurich, Switzerland, completed in 2009.
LC Classification Number
N6888.P56A4 2014
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Quelan Jones
98.8% positive Feedback•6.9K items sold
Registered as a private sellerThereby, consumer rights stemming from EU consumer protection law do not apply. eBay buyer protection still applies to most purchases.
Seller Feedback (2,439)
- b***a (6)- Feedback left by buyer.Past 6 monthsVerified purchaseGreat pricing fast shipping and the package was packed so nice and secure item is as described thank you
- a***y (1003)- Feedback left by buyer.Past 6 monthsVerified purchaseWonderful seller, love the shirt!! Great price, fast shipping, as described, highly recommended!! Thank you!!Velvet by Jenny Graham Blue Boxy T, Top, XL (#176897592494)
- l***0 (21)- Feedback left by buyer.Past monthVerified purchaseMerchandise exactly as described. Well packaged and arrived promptly.