ARTBOOK BLOG

RECENT POSTS

DATE 3/6/2024

Yelena Yemchuk to launch 'Malanka' at Dashwood Books

DATE 2/24/2024

Artbook at Hauser & Wirth LA Bookstore presents 'Exquisite Dreams: The Art and Life of Dorothea Tanning' with Amy Lyford and Amelia Jones

DATE 2/18/2024

Artbook at Hauser & Wirth LA Bookstore presents Lisa Lapinski and Bennett Simpson launching 'Miss Swiss'

DATE 2/17/2024

Artbook @ MoMA PS1 Bookstore presents Hilton Als launching 'God Made My Face: A Collective Portrait of James Baldwin'

DATE 2/17/2024

Artbook at Hauser & Wirth LA Bookstore presents Karen Lofgren & Carmina Escobar launching 'emBRUJAda'

DATE 2/17/2024

Arcana Books presents Yelena Yemchuk signing 'Malanka'

DATE 2/15/2024

Next-level Ellsworth Kelly

DATE 2/14/2024

Joy and magnificence in Valentine's Day staff pick, 'Elder Sex'

DATE 2/14/2024

Love Songs for the Lovestruck and the Lovelorn, 2024

DATE 2/14/2024

Vintage Valentine

DATE 2/14/2024

Join Artbook | D.A.P. at the 2024 CAA National Conference

DATE 2/12/2024

Join Artbook | D.A.P. at Winter Institute, 2024

DATE 2/12/2024

The Center for Black Visual Culture at NYU presents Eric Hart Jr. and Emil Wilbekin


IMAGE GALLERY

"Modern Art (Moderne Kunst)" (1968) is reproduced from
CORY REYNOLDS | DATE 4/19/2014

Sigmar Polke: Alibis

"In December 1968, at the Galerie Rene Block in Berlin, Sigmar Polke mounted a show called Moderne Kunst (Modern art). Alongside other works was a canvas of the same name, with the title painted inside a white border in black italics, like a caption for an image in an old exhibition catalogue (pictured). The painting resembled what many people might regard as a typical specimen of modern art: a black background with the upper-right and lower-left corners painted red and white, a yellow squiggle curving downward from the top, a spiral looping upward, and angular strokes forming a number four and a cross that floats diagonally across the composition. Polke had finished it off with a splatter of bright purple paint. Many art historians have seen this painting as a summation of Polke's position on abstraction circa 1968. In 1976 Barbara Reise recalled its humor and Polke's 'knowledgeable irreverence about contemporary fashions in 20th century art history and criticism'; in 1982 Benjamin H. D. Buchloh—who had put Modern Art on the cover of the catalogue for the retrospective he organized in 1976—drew attention to the arbitrariness and incompatibility of the abstract styles in the painting, writing, 'We find gestures of Modernist painting emptied, made futile by parodistic repetition.' By quoting and debasing the language of abstraction associated with Kazimir Malevich, Vasily Kandinsky, Paul Klee, El Lissitzky, and Jackson Pollock, Polke seemed to signal that each set of forms had become a cliche, and that the claims once made by these artists and on their behalf could no longer be taken seriously." Featured passage, from Mark Godfrey's catalogue essay, is excerpted from Sigmar Polke: Alibis, published to accompany the major retrospective on view at MoMA through August 3.

Sigmar Polke: Alibis 1963-2010

Sigmar Polke: Alibis 1963-2010

The Museum of Modern Art, New York
Hbk, 9.5 x 12 in. / 320 pgs / 520 color.





Vintage Valentine

DATE 2/14/2024

Vintage Valentine

Forever Valentino

DATE 11/27/2023

Forever Valentino

Heads up!

DATE 8/13/2023

Heads up!