SIGMAR POLKE
1963 – 2010 AT MOMA NEW YORK
April 19, 2014 -
August 3, 2014
SIGMAR
POLKE 1963–2010 REVEALS
THE FIVE-DECADE CAREER OF
ONE OF THE MOST VORACIOUSLY EXPERIMENTAL ARTISTS OF THE 20TH
CENTURY
ALIBIS: SIGMAR POLKE 1963 – 2010 AT MOMA NEW YORK
April 19, 2014 - August 3, 2014
The Large-Scale Retrospective Is the First to Encompass Polke’s
Works Across All
Mediums
Sigmar Polke ( German, 1941–2010 ), one of the most voraciously
experimental artists of the 20th century. On view from April 19 to August 3,
2014, this retrospective is the first to encompass the unusually broad range of
mediums Polke worked in during his five-decade career, including painting,
photography, film, sculpture, drawings, prints, television, performance, and
stained glass. Polke eluded easy categorization by masquerading as many
different artists—making cunning figurative paintings at one moment and
abstract photographs the next. Highly attuned to the distinctions between
appearance and reality, Polke elided conventional distinctions between high and
low culture, figuration and abstraction, and the heroic and the banal in works
ranging in size from intimate notebooks to monumental paintings. Four gallery
spaces on MoMA’s second floor are dedicated to the exhibition, which comprises
over 250 works and constitutes one of the largest exhibitions ever organized at
the Museum. Alibis: Sigmar Polke 1963–2010 is
organized by MoMA with Tate Modern, London. It is organized by Kathy Halbreich,
Associate Director, MoMA; with Mark Godfrey, Curator of International Art, Tate
Modern; and Lanka Tattersall, Curatorial Assistant, Department of Painting and
Sculpture, MoMA. The exhibition travels to Tate Modern from October 1, 2014, to
February 8, 2015, followed by the Museum Ludwig in Cologne, in spring 2015.
Beneath Polke’s irreverent wit and promiscuous intelligence lay a
deep skepticism of all authority—artistic, familial, and governmental. To
understand this attitude, and the creativity that grew out of it, Polke’s
biography and its setting in 20th-century European history is relevant: in
1945, near the end of World War II, his family fled Silesia (in present-day
Poland) for what would soon be Soviet-occupied East Germany, from which they
escaped to West Germany in 1953. Polke grew up at a time when many Germans
deflected blame for the atrocities of the Nazi period with the alibi, “I didn’t see anything.”
Alibis is
organized chronologically and across mediums, but begins in MoMA's Donald B.
and Catherine C. Marron Atrium with a sampling of works from across Polke’s
career. The Works presented in this gallery reflect Polke’s persistent
questioning of how we see and what we know, and his constant experimentation
with representational techniques, from the hand-painted dots of Police Pig (1986) to the monumental
digital print The Hunt for the Taliban and Al Qaeda (2002), which he described as a
“machine painting.” Polke’s fluid approach to images and materials and his
embrace of chance as a way of undermining fixed meanings is exemplified in the
selection of films in the Marron Atrium, all of which have never before been
shown publicly. The artist avoided conventional narrative structures and often
double-exposed the film material, superimposing different layers of images. A
preference for flux and a distrust of inherited categories are also evident in
the way Polke questioned the distinction between high and low culture, as in
Season’s Hottest Trend (2003), which mocks the art market’s
reliance on rarity by making a painting out of tacky, mass-produced textiles.
Polke also toyed with language, often using verbal and visual humor to make a
claim while simultaneously positing its opposite—as, for example, in the
painting Seeing Things as They Are (1991),
whose title is reproduced on the back of a semitransparent textile so that,
when standing in front of the work, one sees the words in reverse.
The exhibition continues in the Marron Atrium with some of Polke’s
earliest works,
alongside notebooks and publications from throughout his career.
Polke made most of the Works in this section in his twenties, while a student
at the Kunstakademie Düsseldorf, an influential art school where many of the
major German artists of his generation studied. For this generation, the
bravado of Pop art, which went hand in hand with the spread of American
culture, was both a fascination and a target. By adopting an adamantly clumsy
approach to figuration in his earliest drawings and paintings, he offered a
sharp critique of consumerist behavior and popular taste, with its desire for both sleek new furnishings and kitsch
decorative elements. As the juxtaposition of images and contradictory
approaches in his notebooks demonstrate, Polke remained a contrarian throughout
his life.
The first gallery within MoMA’s Contemporary Galleries begins with
Polke’s work in the 1960s, when he examined the desires and drab realities of
postwar reconstruction by singling out images of food, housing blocks, and
symbols of the often unrequited longing for leisure. His source images were
frequently drawn from newspapers and magazines, where the topics of the day
occupied the same page as cartoons and advertisements. Polke was particularly
interested in the halftone reproductions (images made up of grids of tiny dots
that the eye blends to form a picture) that were common in printed mass media. From 1963 onward,
Polke created a series of paintings in which he painstakingly transcribed—albeit
not always faithfully—the dots of his halftone source. He often began by
spraying a layer of paint through a perforated metal sheet; to these dots he
added others by hand. By creating or amplifying distortions in his source
images, he undermined the photographs’ alleged fidelity to reality and
collapsed the distinction between figuration and abstraction. Works on view
include Chocolate Painting (1964),
Girlfriends (1965/66), and Japanese Dancers (1966).
The exhibition continues with Polke’s work from the late 1960s,
when he repeatedly
treated himself as a test subject and manipulated the structures of
science to question its rationality. By taking on such varied guises as a palm
tree, his own doppelgänger, and a telepathic medium, he embodied his own
fluctuating view of reality. Against the backdrop of worldwide political and
cultural upheavals and the space race between the USSR and the United States,
Polke made it clear that the aims of science, such as precision, measurement,
and objectivity, were not necessarily utopian or progressive. For Cardboardology (1968–69) and People Circle (1968), he used office
materials such as cardboard, ballpoint pen, and twine to reflect how, despite
the flimsiness of the science behind Nazi eugenics, a huge bureaucracy charged
with the extermination of millions of people had developed around it. The works
in this gallery also represent Polke’s caustic dialogue with art from the past
and present. In the drawing Constructions around Leonardo da Vinci (1969), Polke’s ambiguous
respect for and skepticism about the station of artists in society is
exemplified by an ironic but fond alignment of himself with the great
Renaissance scientist and artist. The Large Cloth of Abuse (1968), with its aggressive
insults hurled across the canvas in a style reminiscent of Jackson Pollock’s
famous drip paintings, is an assault on both the veneration of Abstract Expressionist
painting and the subsequent emergence in the 1960s of Conceptual art, which
often used analytical language as a primary medium.
When Polke studied at the Kunstakademie Düsseldorf in the early
1960s, abstraction had returned—after having been deemed degenerate during the
Third Reich—as the dominant style of modern art. But Polke was skeptical of
this purportedly pure, non-referential visual language. In the painting Modern
Art (1968), he cataloged
an array of stereotypical non-figurative painterly forms, from geometric shapes
to expressionist splashes; however, with its white border and handpainted
title, this pastiche looks more like a reproduction. In the early 20th century,
the Soviet Constructivists heralded the social and utopian purpose of abstract
art. But Polke evokes a contrary association with the black and white lines in
Constructivist (1968); by
mimicking the form of a partial swastika, Polke suggests that the return to
abstraction in West Germany was a specious attempt to mask the reasons for its
previous abandonment. Other paintings, in turn, conflate abstraction with the
mundane realm of decoration and kitsch, as when he adopts the patterned grid—a
key modernist motif—of store-bought fabrics that serve as both support and background for a series of ostensibly idyllic yet outlandish sunset
scenes dominated by pairs of herons in Heron Painting I (1968) and Heron Painting II (1968). Polke’s approach to
abstraction was one of interrogation, however, rather than absolute rejection.
The works in the following galleries were largely made in the
1970s, a time of great social, political, and artistic unrest, as well as
widespread experimentation with countercultural lifestyles and drugs such as
hallucinogenic mushrooms. In these films, photographs, prints, and paintings,
Polke created layered, mutable visions of everyday life, including altered
states of consciousness.
This dense constellation of works is intended to evoke the
stimulation of all the senses that occurs during a hallucination. In 1973 Polke
moved from Düsseldorf to a farm in nearby Willich, where the comings and goings
of friends often led to artistic collaborations. Polke’s constant companion
during this time was his Beaulieu movie camera. To the handful of these films
he showed publicly during his lifetime, Polke added soundtracks by musicians
such as the enigmatic Captain Beefheart (Don Van Vliet), whose innovative compositions
blended psychedelia and blues. During this decade, Polke
also traveled widely in search of unfamiliar experiences. All the while, he
remained keenly responsive to the political climate in Germany, as in Dr. Bonn (1978), a painting that
responded to the controversial deaths in 1977 of imprisoned members of the Red
Army Faction, a leftist German terrorist group.
Works on view in this section include the paintings Mao (1972) and
Menschkin (1972), and the films How Long We Are Hesst / Looser (c. 1973–76) and Quetta’s Hazy Blue Sky (c. 1974–76).
In 1981, after returning from more than a year of travel, Polke
entered a period of
explosive experimentation as he rethought how and out of what to
make paintings. He employed a broad array of both arcane and ordinary materials
ranging from toxic Schweinfurt green paint to newspaper clippings capturing the
anxious politics of the Cold War period. Polke achieved complex results with
minimal means. In the triptych Negative Value (1982),
he used a few materials— including a common, non-artistic synthetic purple
pigment—and burnished the surface of the painting to create iridescent gold,
purple, green, and bronze colors that change depending upon the viewer’s position in the gallery. Paganini (1981–83) combines the figure
of the Italian virtuoso musician, who was said to have been assisted by the
devil, with a demonic jester juggling symbols of nuclear extinction—an
ever-present threat during the Cold War. As one looks closer, dozens of
swastikas also emerge. The Living Stink and the Dead Are Not Present (1983)
juxtaposes painted rows of binders—with the clinical inscriptions “Heilung”
(healing) and “Besserung” ( reform or recovery ) - with a printed textile of
Arcadian scenes by Paul Gauguin. Polke’s use of this kitsch fabric suggests an
ironic view of his own love of the exotic, which was a subject of fascination
during his earlier travels through Oceania and Southeast Asia. Making his
images visually unstable and conceptually ambiguous was one of the ways he sought
to thwart the possibility of a definite interpretation.
The next gallery offers an intimate view of Polke’s experiments
with materials and
processes. He explored a variety of pigments, chemicals, and
techniques, many of which he tested in small abstract paintings known as
Farbproben (color
experiments). In the related film, liquid spills and piles of pigment seem to
be characters animated by invisible forces as they explode, mix, and run across
the canvas. Polke appears only briefly, pretending to paint his large canvas
with a tiny brush. Three works in a vitrine use photography, xerography,
drawing, and printmaking to simultaneously degrade images and generate new,
unforeseen ones. In Purple (1986), Polke painted silk with a dye laboriously
extracted from snails, harking back to a time when this pigment, known as
Tyrian or imperial purple, was highly prized and could not be synthesized
industrially. The wrinkled and pale result is anything but majestic, belying
the hard work that went into making the dye. In contrast, in the subtle and
delicate Velocitas-Firmitudo (1986),
Polke transposes marginal decorative elements from Albrecht Dürer’s 1522
woodcut The Great Triumphal Cart onto
nuanced clouds of graphite dust and silver oxide, conjuring a granular, multidimensional space,
distinct from the clearly defined perspectival space of Renaissance painting that Dürer intensely
explored.
During a period of rapid and momentous developments—including the
end of the Cold War, the nuclear disaster in Chernobyl, the fall of the Berlin
wall in 1989, and the reunification of Germany—Polke worked with a broad view
of history in the works on view in the following gallery, which are among his
largest paintings. Between 1984 and 1988, Polke created a group of paintings in
which a single watchtower is painted on surfaces ranging from bubble wrap to
collages of patterned textiles. The kind of tower in the image is commonly used
for hunting in Germany, but such structures also overlooked the border between
East and West Germany and the perimeters of concentration camps during World
War II. In these paintings, Polke used specific images and materials to convey his ideas about the fugitive nature
of vision and memory; for example, in Watchtower II he covered the canvas with
silver salts (light-sensitive compounds that darken over time) so that the
image, like a repressed memory, would ultimately disappear in a black haze.
Likewise, in four untitled works on glass from 1990, Polke obscured a oncetransparent
surface with ornamental skeins of soot created with an ancient oil lamp.
Throughout the 1990s and the first decade of this century, Polke
expanded his range of tools and procedures for manipulating images. He often
used chance events to create new compositions by distorting his sources. In
several works made using a copier, he moved the source images while they were
being scanned, yielding distorted forms that blur the distinctions between
abstraction and figuration, handmade and mechanical, and copy and original. In
his Printing Error works,
he similarly looked for irregularities in the grids of tiny dots that compose
the halftone reproductions typically found in newspapers and magazines.
He discovered meaning in the way such “errors” fail to maintain the perfection
we expect from mechanical reproduction. The culmination of these techniques can
be seen in the slide projections on view here, which bring together drawing,
photography, and xerox to suggest a rudimentary film. The so-called Lens Paintings,
such as The Illusionist (2007), were another major interest for
Polke in the 2000s. Their surfaces are covered with an undulating,
semitransparent layer that functions like a handmade hologram, optically animating and deforming the painting underneath
as the viewer moves in front of it. The Illusionist suggests that both magicians
and artists deal in deception, making things appear and disappear, recalling
the origin of the word alibi—a Latin word meaning “in or at another place.”
http://www.moma.org/visit/calendar/exhibitions/1407
All the Installation views of Alibis: Sigmar Polke 1963–2010,
The Museum of Modern Art, April 19–August 3, 2014. © 2014 The Museum
of Modern Art. Photo: Jonathan Muzikar. All works by Sigmar Polke ©
2014 The Estate of Sigmar Polke/Artists Rights Society (ARS), New York/VG
Bild-Kunst, Bonn, Germany
MAO 1972
Synthetic Polymer Paint on Patterned Fabric Mounted on
felt with Wooden Dowel, Owerall 373,5 * 314 cm
The Museum of Modern Art, New York. Kay Sage Tanguy Fund.
© 2014 The Estate of Sigmar Polke / Artists Rights Society ,
New York / VG Bild - Kunst, Bonn, Germany
.jpg)
THE SECOND FALL 1995
Screenprint - Composition: 38 x 60.8 cm ; Sheet: 55 x 75 cm
Publisher: Edition Staeck, Heidelberg - Edition: 60
The Museum of Modern Art, New York.
Riva Castleman Endowment Fun
THE HUNT FOR THE
TALIBAN AND AL QAEDA 2002
Digital print on
vinyl mesh
256 5/16 × 193
1/8" (651 × 490.5 cm)
Private collection
INSTALLATION VIEW OF
ALIBIS: SIGMAR POLKE 1963–2010,
The Museum of Modern
Art, April 19–August 3, 2014. © 2014 The Museum of Modern Art.
Photo: Jonathan Muzikar. All works by Sigmar Polke © 2014 The Estate
of Sigmar Polke/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn,
Germany
SEEING THINGS AS
THEY ARE 1991
Synthetic resin and
lacquer on polyester
118 1/8 × 88
9/16" (300 × 225 cm)
Städtische Galerie
Karlsruhe, Sammlung Garnatz
DAPHNE 2004
Artist's book - 41.5
× 29 cm
The Museum of Modern
Art Library, New York
FIGURE
WITH HAND 1973
(I
Am Made Dizzy by a Carpet of Rose-Petals...)
DAPHNE 2004
Artist's book - 41.5 × 29 cm
The Museum of Modern Art Library, New York
RASTER DRAWING (
PORTRAIT OF LEE HARVEY OSWALD ) 1963
Poster paint and
pencil on paper - 94.8 × 69.8 cm
Private collection
CONSTRUCTIVIST 1968
Dispersion paint on
canvas - 150 x 125 cm
Pinakothek der
Moderne/Bayerische Staatsgemäldesammlungen, München -
Wittelsbacher
Ausgleichsfonds, Sammlung Prinz Franz von Bayern
+2003.jpg)
UNTITLED ( SQUARE 2
) 2003
MRS. AUTUMN AND HER
TWO DAUGHTERS 1991
Synthetic Resin and
Acrylic on Synthetic Fabric - 300 × 499.7 cm
Collection Walker
Art Center, Minneapolis. Gift of Ann and Barrie Birks, Joan
and Gary Capen, Judy
and Kenneth Dayton, Joanne and Philip Von Blon,
Penny and Mike
Winton, with additional funds from the T. B. Walker Acquisition
Fund
GLENN D. LOWRY MOMA’s
DIRECTOR AT MEETING OF SIGMAR POLKE
MUSEUM OF MODERN ART NEW YORK
MUSEUM OF MODERN ART NEW YORK
Founded in 1929 as an educational institution, The Museum of Modern
Art is dedicated to being the foremost museum of modern art in the world.
Through the leadership of its Trustees and staff, The Museum of
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may read more about MoMA’s entire information to click below link.
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GLENN D. LOWRY MOMA’s DIRECTOR
MUSEUM OF MODERN ART NEW YORK
UNTITLED 1971
Gelatin silver print
17.2 x 24 cm ( irregular )
© 2014 Estate of
Sigmar Polke / Artists Rights Society (ARS)
New York / VG
Bild-Kunst, Bonn, Germany
NEGATIVE VALUE III
/( ALDEBARAN 1982 )
Dispersion Paint,
Resin, and Pigment on Canvas
103 1/8 × 79
1/8" (262 × 201 cm)
Private collection
PAGANINI 1981 - 1983
Dispersion Paint,
Aluminum Paint and Pencil on Patterned Fabric
87 13/16 × 198
7/16" (223 × 504 cm)
Private collection
UNTITLED ( DR. BONN
) 1978
Casein paint on
patterned wool
51 3/16 x 51
3/8" (130 x 130.5 cm)
Groninger Museum
ALICE IN WONDERLAND 1972
Acrylic, spray
paint, poster paint, and metallic
paint on patterned
fabric - 310.5 × 286 cm
Private collection
SUPERMARKETS 1976
Gouache; metallic,
enamel, and acrylic paints; felt-tip pen;
and collage on nine
sheets of paper on canvas
Overall: 204 × 292 cm
Liebelt Collection,
Hamburg
UNTITLED c. 1975
Gelatin silver print
- 18 x 23.9 cm
The Museum of Modern
Art, New York. Acquired through the generosity of
Edgar Wachenheim III
and Ronald S. Lauder
MU NIELTNAM
NETORRUPRUP 1975
Photolithograph -
Composition: 66.5 × 47.7 cm; Sheet: 69.9 x 49.7 cm
Publisher:
Schleswig-Holsteinischer Kunstverein, Kiel
Edition: artist’s
proof outside an edition of 75.
The Museum of Modern
Art, New York. Johanna and Leslie J. Garfield Fund
DR. BERLIN 1969 -
1974
Dispersion paint,
gouache, and spray paint on canvas
59 1/16 x 47
1/4" (150 x 120 cm)
Private collection
MODERN ART 1968
Acrylic and lacquer
on canvas - 150 x 125 cm
Froehlich
Collection, Stuttgart
UNTITLED (HANDS AND
STAINS ), FROM THE SERIES RASTER 1984
Gelatin
Silver Print - 104.78 cm x 249.24 cm
Collection
SFMOMA, Accessions Committee Fund: gift of Barbara and Gerson Bakar, Frances
and John Bowes, Collectors Forum, Mimi and Peter Haas, and Leanne B. Roberts; ©
Estate of Sigmar Polke / Artists Rights Society (ARS), New
York / VG Bild-Kunst, Bonn, Germany
FROM+SERIES+RASTER+1984.jpg)
UNTITLED ( HANDS
& KITCHEN UTENSILS ) FROM THE RASTER SERIES 1984
Gelatin silver print
- 49 × 114" (124.5 × 289.6 cm)
San Francisco Museum
of Modern Art, Accessions Committee Fund: gift of
Doris and Donald
Fisher, Evelyn Haas, Byron R. Meyer, Madeleine H. Russell,
and Judy C. Webb
UNTITLED ( DOUBLE –
SIDED PAINTING ) 1990;
Acrylic
and Artificial Resin on Fabric, 116.21 cm x 137.48 cm
Collection
SFMOMA, Gift of Phyllis Wattis in memory of John Caldwell;
©
Estate of Sigmar Polke / Artists Rights Society (ARS)
New
York / VG Bild-Kunst, Bonn, Germany
UNTITLED c. 1975
Gelatin silver print
- 30 x 23.5 cm
The Museum of Modern
Art, New York. Acquired through the
generosity of
Edgar Wachenheim III and Ronald S. Lauder
UNTITLED FROM SERIES
PARIS 1971
Gelatin silver
print, with applied color - 18 x 24 cm
© 2014 Estate of
Sigmar Polke / Artists Rights Society (ARS)
New York / VG
Bild-Kunst, Bonn, Germany
WATCHTOWER 1984
Synthetic polymer
paints and dry pigment on patterned fabric - 300 x 224.8 cm
The Museum of Modern
Art, New York. Fractional and
promised gift of Jo
Carole and Ronald S. Lauder
NEGATIVE VALUE II (
MIZAR ) 1982
Dispersion paint, resin,
and pigment on canvas - 262 × 201 cm
Private collection
UNTITLED
(MONCHENGLADBACH ) 1983
UNTITLED FROM SERIES
PARIS 1971
Gelatin silver print
- 24 x 29.5 cm
© 2014 Estate of
Sigmar Polke / Artists Rights Society (ARS)
New York / VG
Bild-Kunst, Bonn, Germany
UNTITLED 1971
.jpg)
UNTITLED ( QUETTA,
PAKISTAN ) 1974/78
Gelatin silver print
with applied color - 56.9 × 85.9 cm
Glenstone
ARTIST FIGHT 1979
,+1988.jpg)
THE SPIRITS LEND
STRENGTH ARE INVISIBLE III ( NICKEL / NEUSILBER ) 1988
Nickel
and Artificial Resin on Canvas
Collection
SFMOMA, Gift of the friends of John Garland Bowes, William Edwards, and Donald
Fisher, and Accessions Committee Fund purchase: gift of Frances and John G.
Bowes, Shirley and Thomas Davis, Doris and Donald Fisher, and Mimi and Peter
Haas; © Estate of Sigmar Polke / Artists Rights Society (ARS), New
York / VG Bild-Kunst, Bonn, Germany
POLKE NEUE BILDER
1967
Offset Lithograph 33
x 23 1/4" (84 x 59 cm)
© 2014 Estate of
Sigmar Polke / Artists Rights Society
New York / VG
Bild-Kunst, Bonn, Germany
UNTITLED ( RORSCHACH
) c. 1999
Colored ink in bound
notebook, 192 pages
Each: 11 5/8 × 8
1/16" (29.5 × 20.5 cm)
Private collection
COVER OF ALIBIS:
SIGMAR POLKE 1963 – 2010
Published by The
Museum of Modern Art 2014
LENTICULAR PICTURES
For Seeing Rays (Strahlen Sehen) (2007) Polke used an image from the late seventeenth century—four distorted figures drawn in black pigment, watching some kind of apparition in the sky—and overlaid it with a lenticular surface. Clusters of rays fan out from the figures’ eyes toward the heavenly body, which is obscured by a pattern of spheres and dots that stretches across the work. The source of the image is a treatise on optics, published at the end of the seventeenth century, in which the mathematician Johann Zahn described artificial eyes, microscopes, telescopes, and cameras. The original presents a fantastic scene, with a flying dragon that shoots rays at the eyes of its observers, as does (according to Zahn’s thinking) every illuminated object.
On top of the painting is a grid of plastic lenses that optically deform the picture behind them, producing an impression of space and movement. This technique, which was developed around 1900, was extremely popular in the second half of the twentieth century, appearing on postcards, in children’s toys, on covers of books (such as the science fiction series from which Polke and Richter drew texts for the catalogue of their exhibition at the Galerie h in Hannover in 1966), on record album covers such as Their Satanic Majesties Request, by the Rolling Stones (1967), and in advertising. Polke had employed these lenses as early as 1999, for his light-box installation Being There(Vor-Ort-Sein) in the west foyer of Berlin’s Reichstag building. Installed across from Richter’s tall glass panels Black Red Gold (Schwarz Rot Gold) (1999), Polke’s trick images—of Konrad Adenauer, a game of tug-of-war, officials playing leapfrog, Till Eulenspiegel walking the tightrope, and the Germania figure from the Niederwalddenkmal, among others—shift with the viewer’s every movement.
Seeing Rays is one of five such paintings first exhibited in 2007, when the city of Siegen awarded its eleventh Rubens Prize to Polke. The lenticules were produced manually, like Polke’s painted raster dots. The lenses were formed of a malleable acrylic and modeled with a comb; mounted roughly three quarters of an inch in front of the picture surface, they distort the fantastic scene with flying dots, turning it into a psychedelic fantasy.
You may read entire Sigmar Polke in contex a chronologly by Kathrin Rottmann to click above link.
