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  • Design Credit: Samantha Todhunter Design Ltd., Photo Credit: Oliver Clarke. Dimensions: H 30.71 in. x W 22.64 in.
  • Design Credit: Lucy Harris Studio, Photo Credit: Francesco Bertocci. Dimensions: H 30.71 in. x W 22.64 in.
  • Design Credit: Timothy Godbold, Photo Credit: Karl Simone. Dimensions: H 30.71 in. x W 22.64 in.
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Sigmar Polke
"Oase", abstract print, one of twenty artist proof, signed by Polke, single line

1998

$4,668.24

About

Sigmar Polke (1941-2010) was one of the most important german artists of the late 20th century. In 1961 he joined with Manfred Kuttner, Konrad Lueg and Gerhard Richter the class of Karl Otto Götz at the Kunstakademie Düsseldorf and these four upcoming artists presented their latest works in 1963 in their self-curated exhibition to bring the newest art movements from oversea and Paris to Germany. On the invitation cards they printed the terminologies „Pop Art, Junk Culture, Nouveau Realisme, Common Object Painting, Neo Dada, New Vulgarismus, Antikunst, Know-Nothing-Genre“ and they proclaimed for themselves to be the first artists to show Pop Art, independently developed in Germany, not just as a copy or an American import. But Polke showed right from the beginning an ironic distance to the sociocritical style of his combatants, that will run through his entire Oeuvre. Influenced by the Fluxus and Neo Dada scene around Joseph Beuys, Daniel Spoerri, Dick Higgins and others in the early 1960s, Polke developed his own style characterized by an anarchic mind and esprit. Similar to the Pop Art Polke searched for the aesthetic in the trivial but here too he simultaneously disavowed the trivial through irony. Very typical for Polke are the famous grid images, known from newspaper printings, where we have horizontal, uniform lines of small dots and by combining certain dots there arises a form. By using perforated sheets and airbrush he could overlay more monochrome grids to create vibrating images and he often played in the printing process with enforced mistakes and errors to disassemble the firm surface of an image to a process of decomposition. Next to the irony and anarchy other keywords to his works are heterogeneity, poly-perspectivity and multivalent metamorphoses in which every reality could be something possibly different at the same time. A world where everything is connected, not by fundamental unity, but by fragmentary dispersion. Because there is no one true reality, he transfers his works in an intermediate state of transformability. Oase (1998) Multi-coloured Offset- and Screenprint on Schoellershammer-Cardboard 70 x 50 cm (sheet-size) 78 x 57,5 cm (frame-size) Original wooden frame (white) by the workshop of the Gallery Heinz Holtmann, Schüller, Eifel, Germany Edition of 70 and XX Artists Proofs, signed, dated and numbered (IV/XX) by hand Edition Staeck, Heildelberg, Germany Cat. Raisonné (Edit. von der Osten) Nr. 131 In this very abstract work of Sigmar Polke you see a completely dotted sheet with certain overlaying or bigger dots which form the figurative ambiguous shapes and are highlighted by colours. With a yellow line you see the desert horizon with a single palm tree in green underlayed singel lines but this green line forms simultaneously the nose of a face with an blue eye. With very simple forms printed in single dots with his newspaper printing technique Polke creates a duplicity in his work. On the one hand and very intuitive the beholder sees the comic-like face with his single lined outlines, but in connection with the title and on a second look he explores the shapes of the desert.

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