Presentation on theme: "Neo-Expressionism and the Return of Painting. Andy Warhol, Muhammad Ali, 1977. Synthetic polymer paint and silkscreen ink on canvas, 40 x 40""— Presentation transcript:
Neo-Expressionism and the Return of Painting
Andy Warhol, Muhammad Ali, Synthetic polymer paint and silkscreen ink on canvas, 40 x 40"
(left) David Salle (US, b. 1952), His Brain, 1984, oil and acrylic on canvas, acrylic on fabric, two panels, 9 ft 9 in x 8 ft 10 in overall [PICTURES GENERATION] (right) compare Salle with James Rosenquist (US, b. 1933), President Elect, and (right below) Sigmar Polke (German, 1941), Alice in Wonderland, 1971
David Salle, Géricaults Arm, 1985, oil and synthetic polymer paint on canvas, 6' 578 x 8' 14" The Museum of Modern Art, New York
Eric Fischl (US, b. 1948) Bad Boy, 1981, oil on canvas, 5ft 6in x 8ft decadent suburbia Edgar Degas, Interior, Secret brutalities of middle class lives
Eric Fischl, Sleepwalker, 1979, oil on canvas Whats an adolescent boys masturbation about anyway if its not, in some sense, a separation technique? Hes separating from his parents. Hes becoming aware of himself. - Fischl
Eric Fischl, A Visit to / A Visit from / The Island, oil on canvas, 84 x 168 inches, 1983
(left) Eric Fischl, Bedroom Scene #7 (After the Tantrum, Unholy News) 2004, oil on linen, 65 x 98 in. From photographic series, The Krefeld Project, (right) compare Edouard Manet (French, ), In the Garden, 1879, oil on canvas, 115 x 150 cm The Painter of Modern Life For several days two actors posed for artist in Museum Haus Esters in Krefeld, Germany, which was designed by Mies van der Rohe in 1928 to be a private home. Furnished for the shoots by the artist.
Eric Fischl, Krefeld Project: Dining Room Scene 2, 2003, oil on Linen, 89 x 124 inches.
Fischl, Bedroom Scene #1, 2003, from photographic series: The Krefeld Project (2002) (right) compare Edward Hopper (US, ), Hotel Room, 1931, oil on linen
Jean-Michel Basquiat (US, ) in his studio, 1985 (25 years old) 1996 movie directed by Julian Schnabel
June 1980, more than a hundred artists, including graffiti artist, SAMO, installed their work in an empty massage parlor near Times Square. Poster for a 1980 movie Times Square Show, 2 nd floor with paintings by Tom Otterness announcing types of art inside
Jean-Michel Basquiat, Boy and Dog in a Johnnypump, 1982, Acrylic, oil paintstick, and spray paint on canvas, 7ft 10in x 13ft 9in Basquiats work gives that private anguish artistic expression. bell hooks
Jean-Michel Basquiat, Charles the First, 1982, acrylic and oilstick on canvas, triptych, 6ft 6in x 5ft 2in Nkisi Nkondi of the Kongo people of West Central Africa. From the collection of the Brooklyn Museum. Nkondi is the hunter who tracks down evil doers.
Jean-Michel Basquiat, Grillo, 1984, oil, acrylic, oilstick, photocopy collage, and nails on wood (in four parts), 96 x x 18"
Basquiat and Warhol in Warhol dies in Basquiat portrait by Warhol, 1984
Jean-Michel Basquiat and Andy Warhol, Untitled, Synthetic polymer paint on canvas, x "
Endof Modern Art in Nazi Germany (left) Ernst Ludwig Kirchner (German Expressionist, ) Girl Under a Japanese Umbrella, 1906, oil, 36 x 31 (right) Emil Nolde (German, ), Excited People, 1910 (below) Degenerate Art Exhibition, 1937
The poster of the Degenerate Music exhibition (1938). Jewish Composers and Jazz/Swing musicians were, for instance, accused by the Nazis to produce "degenerated music"... Marc Chagall, Purim, , oil, 20 x 28 in, exhibited in Nazi Degenerate Art Exhibition Composition with Blue, 1926 Piet Mondrian, oil, 24 in. sq
Good German Art – Nazi art
Joseph Beuys, How to Explain Pictures to a Dead Hare,1965 performance in Düsseldorf
Anselm Kiefer (German b. 1945), Occupations, from the photographic series, 1969 (below, left) 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.
Anselm Kiefer The Milky Way, Emulsion paint, oil, acrylic, shellac on canvas with applied wires and lead, 12ft 6in H
Anselm Kiefer, Inner Room, 1981 with (left) source photo of Nazi meeting room, Albert Speer architect
Anselm Kiefer, Your Golden Hair, Margarete, 1981, oil, emulsion, and straw on canvas, 51 x 67
Anslem Kiefer Twilight of the West [Abendland] 1989, lead sheet, synthetic polymer paint, ash, plaster, cement, earth, varnish on canvas and wood, 400 cm H
Gerhard Richter and Konrad Lueg, Living With Pop, 1963: a performance of Capitalist Realism A group of artists in Düsseldorf mounted an installation of objects in a local department store, installing themselves as well amidst these commodities as a demonstration of "Capitalist Realism." What earlier, state-supported realisms was this "Capitalist Realism" responding to?
(left) Richter and Sigmar Polke, 1965, from Richter/Polke exhibition catalogue (right) Richter, 1998, from Gerhard Richter: 40 Years of Painting exhibition cat.
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 I believe in nothing
Richter, Aunt Marianne, oil on canvas, 1965, 47 x 51 in from a photograph of Richter as a baby with Aunt Marianne Whenever I behaved badly I was told you will become like crazy Marianne.
Richter, Phantom Interceptors, 1964, oil on canvas, 55" x 6' 3 (right) Alpha Romeo (With Text), 1965, oil on canvas, 60 x 59
3.2 Gerhard Richter, Annunciation After Titian, Oil on canvas, x 78 34" (125 x 200 cm). Hirshhorn Museum and Sculpture Garden, Washington, D.C. Courtesy Atelier Gerhard Richter.
(left) Richter, Iceberg in Fog, 1982, oil on canvas, 27 x 39 in compare (left) Caspar David Friedrich (German Romantic Painter, ) (top) Monk by the Sea (1809) and (bottom) Polar Sea (1823)
Gerhard Richter, Untitled, 1987, oil on canvas, 118 square
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.
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
Sigmar Polke, Bunnies, 1966, acrylic on linen, 58 x 39 Lichtenstein, cover Of Newsweek, 1966 Warhol, "Marilyn," 1964
Sigmar Polke, from Watchtower series, 1984, synthetic polymers on various fabrics
Polke, The Spirits That Lend Strength Are Invisible III (Nickel/Neusilber), 1988, nickel and artificial resin on canvas, 157in. x 118 in. Collection SFMOMA
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) Crouching Woman, 1914, woodcut
Georg Baselitz, The Gleaner, 1978, oil and tempera on canvas, 130 x 98 in Van Gogh, The Gleaner 1885
Baselitz, Lazarus, 1984
Georg Baselitz with Neo-Expressionist (Neo-Primitivist) sculpture, Man (1980s) and source in Sudanese traditional sculpture (right) Kirchner (German Expressionist), Dancer, 1914
Jörg Immendorff (b Silesia, East Germany, now Poland), Can one change anything with these?, 1972, acrylic on canvas, 20 x 31 ½ in Joseph Beuys lecturing in NYC,1974
Jörg Immendorff (b Silesia, now Poland), Café Deutschland I, 1978, oil on canvas, 280 x 320 cm
Compare Expressionism of Max Beckmann, Night, with Neo-Expressionism of Immendorff, Café Deutschland I, 1978 What do they have in common in form and content?
Jörg Immendorf, Café Deutschland IV, 1978, oil on canvas, 111 x 130 in. Distopia Blade Runner, film still, 1982
Immendorff, Café Deutschland – Cafeprobe, 1980 synthetic resin on canvas, 280 x 350 cm
Jörg Immendorff, Café Deutschland, 1984, oil, 285 cm high (right) Georg Grosz, Metropolis, 1917