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This beautifully produced volume is the updated and revised edition of Polígrafa's 2005 publication of the same name, which was designed and conceived in collaboration with the artist and includes documentation from his private archives. Sigmar Polke: Paintings, Photographs and Films is also the only publication to include a critical overview of the artist's films, and to examine the abiding import of Goya's painting, "El tiempo de las Viejas" ("The Time of the Old Women"), to Polke's oeuvre in general. (The new cover shows Polke photographing this painting in The Beaux Arts Museum in Lille, France.) Throughout, the volume demonstrates how Polke interpreted images of reality rather than reality itself, while also satirizing tendencies in contemporary painting, interrogating the role of the artist as author, dismantling the visual rhetoric of media photography and always embarking upon the most magnificent flights of imagination. Sigmar Polke: Paintings, Photographs and Films affirms the artist's oft-quoted observation that "there has to be an element of risk-taking for me, in my work."

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199 S. mit zahlr. Abb. Gutes Exemplar. Sprache: Deutsch

Featuring more than 250 works from 1962 to 1997, this is the first full scale monograph to be devoted to the work of the iconoclastic German painter, Sigmar Polke. With contributions by an international team of distinguised scholars and curators, this publication offers a thorough examination of the artist's work, life, iconography, and influences.

Sigmar Polke is one of the world’s most revered and influential contemporary artists. This handsome book documents Polke’s recent work, which continues and deepens the artist’s famed explorations of how images are made, used, and thought about in our media-dominated culture. The works also pose intriguing questions about how the eye and mind become crucial players in the perceptual game we undertake daily. Using topical subject matter―such as the ongoing conflict in Afghanistan and the Middle East and the everyday presence of guns in American life―both for its inherent content and metaphoric possibilities, Polke has created a cohesively thematic yet ingeniously diverse group of monumental paintings and large-scale drawings. The source materials for these images are often drawn from American and European newspapers, magazines, and books. All of this work by Polke reflects a fiercely intelligent yet remarkably accessible interpretation of how we perceive and misperceive the social, political, and aesthetic worlds that we live in. In the text, Charles Wylie discusses how Polke’s recent work presents a coherent visual essay on the literal and symbolic construction of images. Noted art critic Dave Hickey provides an interpretive essay on the artist and these new works. Both essays are interspersed with a valuable compendium of Polke’s source materials.

ne of the most significant artists of his generation, Sigmar Polke came of age creatively around 1963 in Dsseldorf. His earliest expressive idiom was crude and humorous, its images outrageous, and its content seemingly trivial, but embedded in these works were subversive and parodic commentaries on consumer society, German postwar politics, and classic artistic conventions. Few of Polke's works demonstrate more vividly his imagination, sardonic wit, and eclectic creative process than the drawings, watercolors, and gouaches of the 1960s and early 70s. More than 300 works are illustrated, including small sketches in ballpoint and felt-tipped pen, larger sheets in watercolor and gouache, and still others stamped with a dot screen process, as well as pages from over a dozen small sketchbooks and several monumental works on paper. This books was published to accopany the first American exhibiton of these drawings shown at The Museum of Modern Art, New York in 1999.

Book is in NEW condition. 2.65

amazing high-end catalogue. bound in hand-made paper. the paintings in this exhibition could be viewed from front or back so the reproductions in this catalogue are on translucent vellum.

Axel Ciesielski is an avid collector of Sigmar Polke s work, probably the only person in the world who can say that he owns each one of the artist s editions. This catalog presents all the posters produced for Polke s museum and gallery exhibitions posters almost exclusively designed and determined by the artists ironic eye. A particularly fascinating aspect of Ciesielski s collection is that it includes perfect copies of all these posters as ephemeral counterparts to Polke s work; the artist himself included the posters in his catalog raisonné, pointing to their hybrid state between artwork and advertisement. The book is also a journey through the art world of the 1960s, revealing Polke s early benefactors as well as the institutional retrospectives that subsequently promoted and reflected his worldwide fame.Published by Snoeck, Germany; Museum of Contemporary Art, Seigen, Germany

OrbitSigmar Polke’s work contains around 200 editions dating from 1963 to 2009, and the collection Ciesielski has collected them worldwide in their entirety. The book accompanying the exhibition showcasing this collection and its juxtaposition with works in the Lambrecht-Schadeberg collection in the Museum of Contemporary Art Siegen, is intended to facilitate an intense discussion of work of individual, outstanding editions by the late winner of the City of Siegens Ruben’s Prize (2007) lead by a younger generation of critics, but also by specialists with intimate knowledge as well as close associates. The authors embark upon an exciting adventure to formulate new approaches to the work of the ambivalent and ironic Grand Master. With his sheets, maps, books, photographs and objects, Sigmar Polke opened up completely new pathways for art in the twentieth century by means of surprising themes and experimental techniques. The editions drew upon his paintings, on the one hand in order to feed back into them, but on the other, to develop completely individual media-based aspects—almost as if to say: a life of its own. The special feature of Sigmar Polke's editions is of course the fact that a camouflage-like blurring principle is granted full thematic exploration within them. He produced photos here reminiscent of reportage and social criticism and juxtaposed them as equals with his colourful, serial prints containing everyday motifs, his so-called »German-pop« style-mix of simple fabrics. His critical attitude towards both the media and culture shines through in his multiples, especially when he worked with historical engravings or optical equipment, or even when simulating magical procedures.Exhibitions: Museum für Gegenwartskunst Siegen, 16/3–23/6/2013 les Abatoirs, Toulouse, 31/1–4/5/2013

Fine. Paperback. 2015. Originally published at $50.

Catalogue published on the occasion of the exhibition Sigmar Polke, organized by the San Francisco Museum of Modern Art, 15 November 1990 - 13 January 1991. Softcover, 9 x 12 inches, 152 pages, 97 full-color plates, with Commentaries, Biography, Exhibition History, Reviews, Bibliography.

How to characterize Sigmar Polke's astonishing, incredibly pleasurable, and stylistically all-embracing oeuvre? Starting from the profane material of everyday culture, Polke interprets images of reality rather than reality itself, satirizes tendencies in contemporary painting, quesitons the role of the artist as author, breaks down the trivial visual worlds of media photography, always on the most magnificent flights of imagination. This publication is the most complete monograph on the artist to date, and includes a number of works never before published.

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 2.65

W : 23 x 28 cm, 200 Seiten, 260 Abbildungen in Farbe - Polke gewinnt seine Linien auf recht unterschiedliche Art: durch Klebebänder, durch Bildvorlagen, durch Farbverläufe oder durch Übernahme herrlicher Arabesken Dürers oder Altdorfers. Die belebten Malgründe entstehen durch die Wahl des Materials (Stoffe, Folien, Raster) und durch zauberhafte' chemische Prozesse der Vermengung unterschiedlicher Chemikalien, Lacke, Pflanzensäfte etc. Gegensätze wie gewollt' und eher zufällig' durchdringen und überlagern sich dabei ständig, wobei nie eindeutig entschieden ist, woher die bestimmende Kraft rührt. So stehen die Stoffbilder und Lackbilder den linearen Darstellungen bis hin zu den Schönheitslinien der Schleifenbilder' sich umarmend gegenüber.

Small hardcover catalog without dustjacket as issued; 13 pages of text follwed by 17 illustrations, in English; very good condition, no internal marks.

12.5 x 9.5 inches. Unpaginated. 18 full color plates. Text by Kornelia von Berswordt-Wallrabe in English and German. Illustrated staplebound wraps. Crown of spine slightly bumped with light crease to corner. Very Good. Published in conjunction with the exhibition that ran from October 22, 1998 through January 16, 1999.

This publication marks the first British retrospective of the German artist Sigmar Polke, widely acknowledged as one of the leading painters working today. Using a full arsenal of materials, Polke conjures with the lies and illusions of painting, in works of wit, beauty and power.Sean Rainbird contributes a survey of Polke's paintings from the early sixties to the present day, and Judith Nesbitt provides an insight into Polke as 'potatologist'.Thomas McEvilley argues that, despite appearances, there is in Polke's various styles a true, consistent sensibility - an ironic and intense critique of the art of painting.

This publication marks the first British retrospective of the German artist Sigmar Polke, widely acknowledged as one of the leading painters working today. Using a full arsenal of materials, Polke conjures with the lies and illusions of painting, in works of wit, beauty and power.Sean Rainbird contributes a survey of Polke's paintings from the early sixties to the present day, and Judith Nesbitt provides an insight into Polke as 'potatologist'.Thomas McEvilley argues that, despite appearances, there is in Polke's various styles a true, consistent sensibility - an ironic and intense critique of the art of painting.

Sigmar Polke is a highly exemplary Postmodernist and perhaps one the most indicative of a truly European avant-garde culture. This book presents a number of critiques which shed light on Polke’s otherwise bewildering display of stylistic references, apparent changes of allegiance and often unorthodox techniques of production.