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Post-modern and contemporary painting in Germany

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

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

  2. 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

  3. 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"... Composition with Blue, 1926Piet Mondrian, oil, 24 in. sq. “Degenerate Art” Marc Chagall, Purim, 1916-18, oil, 20 x 28 in, exhibited in Nazi Degenerate Art Exhibition

  4. “Good German Art” – Socialist Realism (only)

  5. 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

  6. 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

  7. 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

  8. The Dionysian versus the Apollonian Joseph Beuys, I Like America and America Likes Me, performance, “Action,” René Block Gallery, NYC, May, 1974

  9. 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.

  10. (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.“

  11. 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

  12. 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”

  13. 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

  14. Anselm KieferThe Milky Way, 1985-87Emulsion paint, oil, acrylic, shellac on canvas with applied wires and lead, 12ft 6 in HGotterdammerung

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

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

  17. Anselm KieferTwilight of the West [Abendland] 1989, lead sheet, synthetic polymer paint, ash, plaster, cement, earth, varnish on canvas and wood, 13 feet HGotterdammerung

  18. 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?

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

  20. Gerhard Richter (b. Dresden, 1932), Uncle Rudi [Nazi officer], 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 has to commit oneself inwardly, in order to do painting. Once obsessed, one ultimately carries it to the point of 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 Uncle Rudi “very stupid” killed after a few days at war.

  21. Richter, Aunt Marianne, oil on canvas, 1965, 47 x 51 infrom a photograph of Richter as a baby with Aunt Marianne, the sister of Uncle Rudi and Richter’s mother. She was sent to a mental institution when she was 18, where Nazi doctors euthanized her. “Whenever I behaved badly I was told you will become like crazy Marianne.” “Suddenly, I saw it (the photograph) in a new way, as a picture that offered me a new view, free of all the conventional criteria I had always associated with art. It had no style, no composition, no judgment. It freed me from personal experience.” - Richter

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

  23. Richter, Eight Student Nurses, 1966, oil on canvas, 8 paintings each c. 36 x 27 inDisjunction of signified and signifier

  24. Compare Richter, Eight Student Nurses, 1966, with (left) AndyWarhol, Jackie: The Week That Was, 1963 Grisaille – grey, “like no other color is suitable for illustrating nothing” - Richter

  25. 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.

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

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

  28. (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

  29. (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)

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

  31. 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.”

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

  33. Sigmar Polke, Bunnies, 1966, acrylic on linen, 58 x 39” Simulation of Raster dots (commercial 4-color printing) Lichtenstein, cover of Newsweek, 1966 Ben-Day dots Warhol, "Marilyn," 1964

  34. Sigmar Polke, Alice in Wonderland, 1971, mixed media on fabric strips, 10ft 6” x 8ft 6” private collection, Cologne

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

  36. Berlin Wall, August 13, 1961, the GDR began under the leadership of Erich Honecker to block off East Berlin and the GDR from West Berlin by means of barbed wire and antitank obstacles. Construction crews replaced the provisional barriers by a solid wall.

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

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

  39. Georg Baselitz (Hans-Georg Kern, b. Dresden, Germany,1938) The New Type, 1966, woodcut, 42 x 34 incompare (center below) EmilNolde, The Prophet, 1912, woodcut;(right) Erich Heckel (German, 1883–1970) Woman, 1914, woodcut 1914 German Expressionism 1966 Neo-Expressionism 1912

  40. Baselitz, The Gleaner, oil and tempera on canvas, 130 x 98 in, 1978 Van Gogh, TheGleaner ink drawing, 1885

  41. Baselitz, Lazarus, 1984

  42. Baselitz with Neo-Expressionist (Neo-Primitivist) sculpture, Man (1980s) and source in Sudanese traditional sculpture(right) Kirchner (German Expressionist), Dancer, 1914

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

  44. 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

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

  46. Compare Expressionism of Max Beckmann (left), Night, 1917-18 with Neo-Expressionism of Immendorff, Café Deutschland I, 1978What (form and content) do they have in common?

  47. Immendorf, Café Deutschland IV, 1978, oil on canvas, 111 x 130 in.Dystopia Blade Runner, film still, 1982

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

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

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