383:, where a landscape containing a mountain and a tree is intercut with abstract devices before succumbing to the intrusive presence of a large, vertical strip of printed fabric. It is festooned with multicoloured hands, suggesting once again that Polke wants to emphasise the artist's own manipulative. In the mid-1990s Polke began to work on a new series called Druckfehler, or 'Printing Mistakes', inspired by printing errors found in newspapers. Fascinated by the relationship between the random mistake and the original image, Polke would enlarge and manipulate the distorted newsprint. He then paints the image onto a polyester surface with the aid of a projector, and coats it in layers of resin. Buried within this elaborate surface are sheets of gold mesh, creating yet another filter through which the image must be read. In a few cases, Polke "manufactured" these so-called mistakes; the elongated figures in
297:. He produced an additional series of photographic suites based on his journeys to Paris (1971), Afghanistan and Pakistan (1974) and SĂŁo Paulo (1975), often treating the original image as raw material to be manipulated in the dark room, or in the artist's studio. Beginning with his 1971 Paris photographs printed using chemical staining to create works full of strange presences while under the influence of LSD, Polke exploited the photographic process as a means to alter "reality." He combined both negatives and positives with images that had both vertical and horizontal orientations. The resulting collage-like compositions take advantage of under- and overexposure and negative and positive printing to create enigmatic narratives. With the negative in his enlarger, the artist developed large sheets selectively, pouring on photographic solutions and repeatedly creasing and folding the wet paper.
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341:(1978) Polke used a canvas made of furnishing fabric, thus elevating it to the status of a visual motif. His creative output during this time of enormous social, cultural, and artistic changes in Germany and elsewhere, demonstrate most vividly his imagination, sardonic wit, and subversive approach in his drawings, watercolors, and gouaches produced during the 1960s and 1970s. Embedded in these images are incisive and parodic commentaries on consumer society, the postwar political scene in Germany, and classic artistic conventions.
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504:, with the wish explicitly expressed by the artist that the work should remain on display in Venice. Polke is scheduled to have a retrospective "Alibis: Sigmar Polke 1963–2010" shown at The Museum of Modern Art in New York, from 19 April to 3 August 2014, then travels to Tate Modern, London, United Kingdom and Museum Ludwig, Cologne, Germany.
219:. He began his creative output during a time of enormous social, cultural, and artistic changes in Germany and elsewhere. During the 1960s, DĂĽsseldorf, in particular, was a prosperous, commercial city and an important centre of artistic activity. In the early 1970s Polke lived at the Gaspelhof, an artists' commune.
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in Berlin in 1999, Polke created a series of large, three-dimensional lightboxes. Lighted from behind, images seen through the grooved surfaces of these lightboxes change as the viewer moves past them. Drawing on his early glass-painting training, Polke realized a series of stained-glass windows for
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The Estate of Sigmar Polke has been established by his heirs—his widow, artist
Augustina Baroness von Nagel, daughter Anna Polke, and son Georg Polke—to build up an archive in the artist's Cologne studio. The Estate also administers the artist's intellectual property rights. A Catalogue Raisonné of
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In 1966–68, during his most conceptual period, Polke used a Rollei camera to capture ephemeral arrangements of objects in his home and studio. In 1968, the year after he left the art academy, Polke published these images as a portfolio of 14 photographs of small sculptures he had made from odds and
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excreted by snails. He began to make large, gestural paintings which combined figurative and abstract imagery. During the 1980s he experimented with materials and chemicals, mixing together traditional pigments with solvents, varnishes, toxins and resins to produce spontaneous chemical reactions.
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In 2002, Polke developed a new technique of 'machine painting'. These are his first completely mechanically-produced paintings and are made by tinting and altering images on a computer and then photographically transferring them onto large sheets of fabric. Up until this point Polke had rejected
289:, Polke slowed his art production in favor of travel to Afghanistan, Brazil, France, Pakistan, and the U.S., where he shot photographs (using a handheld 35mm Leica camera) and film footage that he would incorporate in his subsequent works during the 1980s. In 1973 he visited the U.S. with artist
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Polke experimented with a wide range of styles, subject matters and materials. In the 1970s, he concentrated on photography, returning to paint in the 1980s, when he produced abstract works created by chance through chemical reactions between paint and other products. In the last 20 years of his
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Polke's early work has often been characterised as
European Pop art for its depiction of everyday subject matter—sausages, bread and potatoes—combined with images from the mass media. His "Rasterbilder" from that period are works that exploit the raster-dot technique of printing as a way as of
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subverting and bringing into question the apparent truth, validity and purpose of the media images that his paintings appropriate. He imitated the dotted effect of commercial newsprint by painstakingly painting each dot with the rubber at the end of a pencil. In works such as
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In the 1960s, Mr. Polke was at the vanguard of a German artistic movement called capitalist realism, along with fellow painter
Gerhard Richter – who later expressed reservations about his colleague's work, saying "he refuses to accept any borders, any
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Polke achieved earliest success with his paintings and drawings of consumer goods. His most recognizable works are from the mid-1960s and have performed the best at auction. A first record price for Polke's work at auction was established when
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These experiments produced elaborate abstract paintings which reflect on the concepts of originality and authorship which underpin the
Modernist tradition and, in particular, the mystique of American
457:, West Berlin, in 1966, and in 1970 he had his first solo exhibition at Galerie Michael Werner. His first solo exhibition in New York, of paintings made at least a decade earlier, was at the
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418:(1969), made in collaboration with Christof Kohlhöfer, is a 35-minute piece in which, Polke scratches himself and uses a pendulum. He also reads from the esoteric 19th-century grimoires
424:(almost inaudibly as he keeps giggling all the time) and poses as the letter X, with parallel lines of white string connecting the legs of his trousers with the arms of his shirt.
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Returning to painting in the 1980s, he maintained his interest in alchemical properties. In 1980, he began exploring
Australia and Southeast Asia, working with materials like
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From 2007, Polke continued to develop and refine his "Lens
Paintings" series. The conceptual framework of the Lens Paintings is grounded in theories set forth by monk
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ends—buttons, balloons, a glove. From 1968 to 1971, he completed several films and took thousands of photographs, most of which he could not afford to print.
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as artist). It is an anti-style of art, appropriating the pictorial shorthand of advertising. This title also referred to the realist style of art known as "
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By the latter years of his life, Polke's artistic achievements were being recognised in large-scale exhibitions around the world, with solo shows at
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Through his numerous high-profile exhibitions, Polke exerted an international influence, affecting somewhat younger artists such as his compatriots
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and its satellites (from one of which Polke had fled with his family), but it also commented upon the consumer-driven art "doctrine" of western
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in search of the "other" America; the fruit of that journey was a series of manipulated images of homeless alcoholics living on New York's
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Completed in 1995 in collaboration with his later wife
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402:. Polke's painted "lens" generates a variety of distortions, mutations and spatial illusions when seen from different viewpoints.
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Sigmar Polke's
Layered Look : The photographs of the influential German are hard to pin down—as is the artist himself
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Sigmar Polke's
Layered Look : The photographs of the influential German are hard to pin down—as is the artist himself
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with images from Polke's paintings, developed using techniques of multiple exposures and multiple negatives.
593:(1967), a romantic landscape for which he used magnified Benday dots from a newspaper in a style similar to
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in 1978, where he continued to live and work until his death in June 2010 after a long battle with cancer.
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Der ganze Körper fühlt sich leicht und möchte fliegen (The Whole Body Feels Light and Wants to Fly)
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When asked to participate in Konrad
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mechanical processes, preferring to explore the visual effects of mechanical technology by hand.
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500:(2005–2007), a monumental cycle of paintings, was shown for the first time at the 2007
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paintings, photographs and works on paper is currently being prepared by the Estate.
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in 1975, sold at Christie's London in February 2006 for ÂŁ568,000 ($ 988,000). His
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life, he produced paintings focused on historical events and perceptions of them.
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1964: "Neodada Pop Decollage Kapitalistischer Realismus", Galerie René Block,
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387:(1998) are the result of his having dragged a picture through a photocopier.
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951:"German artist Sigmar Polke, creator of 'Higher Beings Command,' dies at 69"
581:(1967) established a new record for the artist at $ 9.2 million. Meanwhile,
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described Polke as an "artist's artist". Today, Polke is often grouped with
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In 1963, Polke founded the painting movement "Kapitalistischer Realismus" ("
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133:(13 February 1941 – 10 June 2010) was a German painter and photographer.
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because both came of age and experimented in West Germany in the 1960s.
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in a 1685 book on a "teledioptric artificial eye", a forerunner of the
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Sigmar Polke: History of Everything, October 2, 2003 – January 4, 2004
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Sigmar Polke: History of Everything, October 2, 2003 – January 4, 2004
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Sigmar Polke: History of Everything, October 2, 2003 – January 4, 2004
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Post-War and Contemporary Art Evening Sale, 8 February 2007, London.
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1998: International Center of Photography, Infinity Award for Art;
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From 1977 to 1991, he was a professor at the Academy of Fine Arts,
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Sigmar Polke: The Three Lies of Painting, 7 June – 12 October 1997
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Sigmar Polke: Photographs, 1968–1972, February 20 – May 20, 2007
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mounted a solo show for Polke in 1991. Polke exhibited at three
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Current exhibitions and connection to galeries at Artfacts.Net
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in Los Angeles in 2007. In 2007, the "Museum Moderner Kunst" (
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Polke, the seventh in a family of eight children, was born in
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Post-War and Contemporary Art Evening Sale,8 February 2006.
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2008: Foreign Honorary Member in the Field of Visual Arts,
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Sotheby's $ 174.1 Million Sale Reflects Healthy Art Market
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Contemporary Art Evening Sale, 16 November 1999, New York.
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Aus 'Lernen neu zu Lernen' (From 'Learning to Learn Anew')
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Sigmar Polke: Works on Paper 1963–1974, MOMA; ISBN .
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694:1975: Awarded the prize for painting at the XIII
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1474:A Rothko Tops Sotheby's Contemporary Art Auction
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1368:The Alchemist's Moment: The Reclusive Mr. Polke
1176:Sigmar Polke: Painting as a Game without Limits
1456:Strong Sales in London for Some German Artists
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461:in SoHo in 1982. Following a 1987 show at the
363:, meteor dust, smoke, uranium rays, lavender,
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799:2010: Awarded the "Roswitha Haftmann Prize",
773:" awarded by the Japan Art Association, Tokyo
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643:. Unsourced material may be challenged and
203:between 1959 and 1960, before entering the
898:"Sigmar Polke, German Painter, Dies at 69"
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700:1986: Awarded a "Golden Lion" at the XLII
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1628:People from the Province of Lower Silesia
1618:Photographers from North Rhine-Westphalia
663:Learn how and when to remove this message
262:", then the official art doctrine of the
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1312:"Alibis: Sigmar Polke 1963–2010 – MoMA"
1033:Art Gallery of New South Wales, Sidney.
577:(1968) sold for $ 7.4 million, and his
524:(Dutch-American artist), the Americans
453:Polke had his first one-person show at
226:. His students included, among others,
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465:grouping Warhol, Beuys and Polke, the
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978:Raphael Rubinstein (27 August 2011),
917:Grafik des kapitalistischen Realismus
789:American Academy of Arts and Sciences
680:; Awarded the Young Germans award in
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215:and deeply influenced by his teacher
1384:Hilarie M. Sheets (9 October 2015).
1345:Christopher Masters (14 June 2010),
1009:Kristine McKenna (3 December 1995),
795:American Academy of Arts and Letters
641:adding citations to reliable sources
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421:The Sixth and Seventh Books of Moses
573:auction in London in 2011, Polke's
467:Museum of Contemporary Art, Chicago
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1127:Kunst- und Ausstellungshalle Bonn.
122:Rubens Prize of the City of Siegen
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1494:. sigmar-polke.de. Archived from
1299:Sigmar Polke – In praise of doubt
1613:21st-century German male artists
1598:20th-century German male artists
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1405:"Sigmar Polke (b. 1941), Strand"
715:International Prize for Painting
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367:and a purple pigment from the
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161:. His family escaped from the
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1633:Deaths from cancer in Germany
1472:Scott Reyburn (13 May 2015),
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793:2009: Honorary Member in the
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153:. He fled with his family to
1608:21st-century German painters
1593:20th-century German painters
1454:Carol Vogel (29 June 2011),
1145:Carol Vogel (18 July 2013),
755:(which he refused to accept)
169:in 1953, traveling first to
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1643:German contemporary artists
1438:Untitled (SĂŁo Paulo Series)
1417:Kelly Crow (29 June 2011),
1394:. Retrieved 9 October 2015.
1366:Carol Vogel (27 May 2007),
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583:Untitled (SĂŁo Paolo Series)
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1540:Exhibitions and literature
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1069:Metropolitan Museum of Art
1000:Getty Center, Los Angeles.
381:The Three Lies of Painting
16:German painter (1941–2010)
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432:For the reopening of the
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1578:German abstract painters
1492:"Estate of Sigmar Polke"
1386:"Polke Estate to Dealer"
1123:7 September 2011 at the
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205:Kunstakademie DĂĽsseldorf
94:Kunstakademie DĂĽsseldorf
1301:Palazzo Grassi, Venice.
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711:1988: Awarded the 1988
445:between 2006 and 2009.
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1282:Obituary: Sigmar Polke
1166:Guggenheim Collection.
934:, Druckgrafik bis 1971
870:London Review of Books
735:Carnegie International
484:in 2003–2004, Tokyo's
374:Abstract Expressionism
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1520:at Wikimedia Commons
1347:Sigmar Polke obituary
459:Holly Solomon Gallery
379:In 1994, he produced
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103:Painting, Photography
1623:People from Oleśnica
1603:German male painters
637:improve this section
536:, and the Swiss duo
463:Milwaukee Art Museum
353:Museum of Modern Art
183:Upon his arrival in
157:in 1945, during the
1423:Wall Street Journal
1327:(6 November 1987),
1286:The Daily Telegraph
1244:15 May 2011 at the
1147:MoMA's Polke Moment
955:The Washington Post
841:(3 December 1995),
776:2007: Awarded the "
760:Goslarer Kaiserring
758:2000: Awarded the "
718:1994: Awarded the "
702:Biennale di Venezia
696:Bienal de SĂŁo Paulo
538:Fischli & Weiss
514:Martin Kippenberger
1588:Postmodern artists
1583:German pop artists
1527:The New York Times
1391:The New York Times
1269:The New York Times
924:Karl Horst Hödicke
771:Praemium Imperiale
591:Dschungel (Jungle)
587:SĂŁo Paulo Biennial
455:Galerie René Block
428:Commissioned works
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339:Protective Custody
337:(1969) or, later,
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302:street photography
244:Capitalist realism
112:Capitalist realism
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847:Los Angeles Times
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727:
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709:
706:Frank Auerbach
698:
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671:
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621:
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559:Strand (Beach)
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526:Richard Prince
522:Lara Schnitger
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450:
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400:telephoto lens
351:(1984) at the
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252:Konrad Fischer
239:
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213:Gerhard Hoehme
209:Karl Otto Götz
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100:Known for
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704:(shared with
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653:February 2018
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622:This section
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540:. The artist
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531:
527:
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519:
518:Albert Oehlen
515:
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499:
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487:
483:
478:
477:exhibitions.
476:
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456:
446:
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441:cathedral in
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335:Propellerfrau
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318:Propellerfrau
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197:stained glass
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151:Lower Silesia
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42:
38:
34:
29:
22:
19:
1553:Sigmar Polke
1533:
1526:
1525:Obituary in
1518:Sigmar Polke
1510:
1496:the original
1486:
1476:
1468:
1458:
1450:
1437:
1431:
1421:
1413:
1399:
1389:
1380:
1370:
1351:The Guardian
1349:
1341:
1331:
1320:
1314:. moma.org/.
1306:
1294:
1284:
1277:
1268:
1258:
1248:
1233:
1218:
1203:
1193:
1191:Sigmar Polke
1186:
1171:
1164:Sigmar Polke
1159:
1149:
1141:
1132:
1113:
1082:
1076:
1063:
1057:
1044:
1038:
1031:Sigmar Polke
1013:
1005:
982:
980:Sigmar Polke
974:
965:
958:. Retrieved
954:
932:Wolf Vostell
912:
901:
891:
879:. Retrieved
874:
868:
855:
845:
778:Rubens Prize
690:Dieter Krieg
659:
650:
635:Please help
623:
599:
590:
582:
578:
574:
558:
555:
511:
497:
490:Getty Center
479:
473:and several
452:
439:GrossmĂĽnster
431:
419:
415:
409:
393:
389:
384:
380:
378:
358:
348:
338:
333:(1968), the
327:
324:
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299:
286:
285:
281:
264:Soviet Union
241:
228:Georg Herold
221:
217:Joseph Beuys
185:West Germany
182:
175:West Germany
173:and then to
167:East Germany
144:
135:
131:Sigmar Polke
130:
129:
76:(2010-06-10)
74:10 June 2010
25:Sigmar Polke
18:
1573:2010 deaths
1568:1941 births
1550:(in French)
1239:Cosmic Rays
1226:Tate Modern
1211:Tate Modern
1106:Tate Modern
1071:, New York.
960:17 November
861:Foster, Hal
682:Baden-Baden
534:David Salle
482:Tate Modern
449:Exhibitions
396:Johann Zahn
278:Photography
256:Konrad Lueg
199:factory in
171:West Berlin
1562:Categories
1443:Christie's
1088:Christie's
1050:Christie's
920:KP Brehmer
819:References
784:, Germany)
753:Wolf Prize
748:, New York
739:Pittsburgh
563:Christie's
552:Art market
349:Watchtower
329:Carl Andre
268:capitalism
201:DĂĽsseldorf
165:regime in
46:1941-02-13
1228:, London.
1213:, London.
1195:The Times
1108:, London.
865:"At MoMA"
766:, Germany
724:Amsterdam
624:does not
571:Sotheby's
498:Axial Age
471:documenta
434:Reichstag
178:Rhineland
163:Communist
155:Thuringia
90:Education
84:, Germany
1242:Archived
1121:Archived
1064:Untitled
967:limits."
877:(12): 36
863:(2014).
807:See also
365:cinnabar
331:in Delft
308:Painting
246:") with
108:Movement
59:Oleśnica
881:13 June
769:2002: "
733:at the
645:removed
630:sources
361:arsenic
355:in 2022
254:(alias
232:Cologne
224:Hamburg
193:Krefeld
189:Willich
82:Cologne
57:, (now
55:Germany
1440:(1975)
1250:Frieze
1085:(1966)
1083:Strand
1066:(1975)
1047:(1974)
801:ZĂĽrich
782:Siegen
764:Goslar
751:1999:
729:1995:
678:Berlin
605:Awards
579:Jungle
567:London
508:Legacy
443:ZĂĽrich
321:(1969)
295:Bowery
124:(2007)
118:Awards
63:Poland
53:Oels,
684:with
565:, in
494:MUMOK
406:Films
369:mucus
191:near
187:, in
962:2014
883:2014
688:and
628:any
626:cite
532:and
516:and
437:the
250:and
238:Work
147:Oels
141:Life
71:Died
40:Born
780:" (
762:",
722:" (
639:by
149:in
1564::
1388:.
1359:^
1267:.
1095:^
1023:^
990:^
964:.
953:.
939:^
930:,
922:,
900:,
875:36
873:.
867:.
827:^
737:,
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61:,
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985:.
907:.
885:.
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726:)
708:)
666:)
660:(
655:)
651:(
647:.
633:.
65:)
48:)
44:(
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