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Manfred Kuttner (1937-2007) entered the art-world stage together with his artist friends Gerhard Richter, Konrad Lueg, and Sigmar Polke. The four artists jointly organized the Demonstrative Ausstellung (Demonstrative Exhibition) of 1963 in Dsseldorf, which was conceived to convey their radical rejection of all established art venues and to simultaneously position themselves in the art scene. This exhibition saw the founding of so-called German Pop Art and the coining of the term Capitalist Realism, which would later write art history. Kuttner contributed abstract pictures and painted objects. In both cases he employed newly developed fluorescent Plaka paints in neon hues that otherwise tende...
In the early 1960s, when Richter was still Gerd and Polke was a young Pop agitator, they and the now lesser-known Manfred Kuttner and Konrad Lueg palled around, organized happenings, promoted their impudent ideas and strutted self-confidently (justifiably, as it turned out). These essays examine the time, with many revealing black-and-white snapshots.
Bound photocopy of a book; the original German language book is available through the LBI library.
Gerhard Richter, Konrad Lueg, Sigmar Polke and Manfred Kuttner coined the term "Capitalist Realism" in Düsseldorf in 1963. This publication is the first dedicated to the phenomenon. The movement's principal exhibitions and works are documented in reproductions of works and documents, plus critical essays.
In challenging the world to show itself as a measured site of resources, opportunities, distinctions and goals, strategy leaves no pause for thought, it has become a small science of imposed patterns. This book rescues strategy from the boundless sway of technology and thoughtlessness.
Tour of the exhibition: the Museum of Modern Art, New York, Feb. 14-May 21, 2002 and others.
An illustrated exploration of Girlfriends (1965/66), one of Sigmar Polke's important early paintings. The artist Sigmar Polke (1941–2010) worked across a broad range of media—including photography, painting, printmaking, sculpture, and film—and in styles that varied from abstract expressionism to Pop. This volume in Afterall's One Work series offers an illustrated exploration of Freundinnen (Girlfriends 1965/66), one of Polke's important early paintings. Taken from a found image of two young women, and using the raster dots also found in mass media reproductions, Girlfriends offers a statement about the use and social function of images. Stefan Gronert approaches Girlfriends through it...
An important new look at Cold War art on both sides of the Atlantic
Sigmar Polke's thirty-five-year career, during which he has produced a vast range of work in all mediums, has earned him a reputation as one of the most significant artists of his generation. Born in 1941, he began his creative output around 1963 in Dusseldorf during a time of enormous social, cultural, and artistic changes in Germany and elsewhere. Few of his works demonstrate more vividly his imagination, sardonic wit, and subversive approach than the drawings, watercolors, and gouaches produced during the 1960s and early 1970s. Embedded in these images are incisive and parodic commentaries on consumer society, the postwar political scene in Germany, and classic artistic conventions.
This fascinating book offers unprecedented insight into artist Gerhard Richter's life and work. From his childhood in Nazi Germany to his time in the West during the turbulent 1960s and '70s, this work presents a complete portrait of the often-reclusive Richter.