Sigmar Polke: Alibis 1963-2010

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9780870708893: Sigmar Polke: Alibis 1963-2010

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.

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About the Author:

Kathy Halbreich is Associate Director at The Museum of Modern Art.

Mark Godfrey is Senior Curator of International Art (Europe and Americas) at Tate Modern in London.

Lanka Tattersall is Assistant Curator at the Museum of Contemporary Art, Los Angeles.

Magnus Schaefer is a Curatorial Assistant in the Department of Drawings and Prints at The Museum of Modern Art, New York.

Paul Chan is an American artist, writer and founder of the art and ebook publishing company Badlands Unlimited, based in New York City.

Christophe Cherix is The Robert Lehman Foundation Chief Curator of Drawings and Prints at The Museum of Modern Art.

Tacita Dean is an English filmmaker and visual artist.

Barbara Engelbach is a curator at the Museum Ludwig, Cologne.

Stefan Gronert is a curator of the graphics collection at the Kunstmuseum and teaches art history at the University of Bonn, specializing in photography.

Rachel Jans is Assistant Curator at The San Francisco Museum of Modern Art.

Review:

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. (Holland Cotter The New York Times)

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. (Howard Halle Time Out New York)

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. (Howard Halle Time Out New York)

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. (Sanford Schwartz The New York Review of Books)

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. (Raphael Rubinstein Art in America)

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. (Christopher Lyon Bookforum)

"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. (Peter Schjeldahl The New Yorker)

His paintings...re-enchant the world of images and the possibilities of picture-making. (Maika Pollack New York Observer)

...one of postwar Germany's most important artists. (Ted Loos Art & Antiques)

Germany produced at least one comic genius in the 20th century, as MoMA's Sigmar Polke retrospective demonstrates. (David Salle Town & Country)

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. (Howard Halle Time Out New York)

Has any artist of the last fifty years more successfully combined relentless material innovation, slyly subtle wit, and voracious cultural rummaging than Sigmar Polke? (Graham Bader Artforum)

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Descrizione libro MUSEUM OF MODERN ART, United States, 2017. Hardback. Condizione libro: New. Language: English . Brand New Book. 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 Durer 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 Dusseldorf, where he was trained as a glass painter and subsequently studied at the Kunstakademie Dusseldorf. 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 Grossmunster in Zurich, Switzerland, completed in 2009. Codice libro della libreria AA29780870708893

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Descrizione libro MUSEUM OF MODERN ART, United States, 2017. Hardback. Condizione libro: New. Language: English . Brand New Book. 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 Durer 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 Dusseldorf, where he was trained as a glass painter and subsequently studied at the Kunstakademie Dusseldorf. 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 Grossmunster in Zurich, Switzerland, completed in 2009. Codice libro della libreria AA29780870708893

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