Sigmar Polke: Alibis 1963-2010

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sigmar-polke-alibis-1963-2010-134.jpg

Sigmar Polke: Alibis 1963-2010

75.00

Published by The Museum of Modern Art, New York
Edited by Kathy Halbreich, Mark Godfrey, Lanka Tattersall, and Magnus Schaefer. Interview with Benjamin H. D. Buchloh

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.

More than a survey of a 20th Century Master, this volume goes deep with significant text from Paul Chan, Christophe Cherix, Tacita Dean, Barbara Engelbach, Mark Godfrey, Stefan Gronert, Kathy Halbreich, Rachel Jans, John Kelsey, Jutta Koether, Christine Mehring, Matthias Mu?hling, Marcelle Polednik, Christian Rattemeyer, Kathrin Rottmann, Magnus Schaefer, and Lanka Tattersall. 

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