Neo-Expressionism and the Return of Painting

(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) (below) compare Salle with James Rosenquist (US, b. 1933), President Elect, 1960 (American Pop)

David Salle, Géricault’s Arm, 1985, oil and synthetic polymer paint on canvas, 6' 57∕8” x 8' 1∕4" 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 “What’s an adolescent boy’s masturbation about anyway if it’s not, in some sense, a separation technique? He’s separating from his parents. He’s becoming aware of himself.” - Fischl

Eric Fischl, A Visit to / A Visit from / The Island, oil on canvas, 84 x 168 inches, 1983, Whitney Museum of Art, NYC

(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.

Eric 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

In 1977 Basquiat (17 years old) started to spray paint cryptic sayings on subway trains and around lower Manhattan and signing them SAMO©. This video still is from 1981 "SAMO© as an end to mindwash religion, nowhere politics, and bogus philosophy…. SAMO© saves idiots“ Basquait

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 “Basquiat’s work gives that private anguish artistic expression.” bell hooks

Jean-Michel Basquiat, Charles the First, 1982, acrylic andoilstick 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 211 1∕2 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, 116 7∕8 x 165 3∕8"

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, “Degenerate art” Composition with Blue, 1926 Piet Mondrian, oil, 24 in. sq “Degenerate art”

“Good German Art” – Nazi art National Socialist Realism

Joseph Beuys, How to Explain Pictures to a Dead Hare,1965 performance in Düsseldorf

(left and center) Anselm Kiefer (German b. 1945), Occupations, from the conceptual art photographic series, 1969 (below center and 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.

(left) Anselm Kiefer, Heroic Symbol 5, 1970 (right) Barbara Kruger, Untitled (We Don’t Need Another Hero), Photoscreenprint on vinyl. 109” × 209”

Anselm Kiefer, Interior (Innenraum),1981, oil, acrylic, and paper on canvas, 121” across (above) source photograph of the Mosaic Room in the New Reich Chancellery, Adolf Hitler’s government offices in Berlin, which were destroyed in Designed by the architect Albert Speer to assert the Third Reich’s historical continuity with the great ancient civilizations of Egypt, Greece and Rome. What does neo-classical architecture signify?

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 as things (commodities) for the home as a demonstration of "Capitalist Realism." What earlier, state-supported realism was this "Capitalist Realism" responding to? (Answer: Socialist Realism mandated by the East German Communist regime.) Richard Hamilton (British), Just What Is It That Makes Today’s Homes So Different, So Appealing?, Pop Art, in × 9.75” Kunsthalle Tübingen, Tübingen, Germany

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, 49 1∕4 x 78 3∕4" (125 x 200 cm). Hirshhorn Museum and Sculpture Garden, Washington, D.C. Courtesy Atelier Gerhard Richter.

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.”

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 Immendorff, Café Deutschland, 1984, oil, 285 cm high (right) Georg Grosz, Metropolis, 1917