NXEL GROVE painter and German photographer, who died in 2010, with his unpredictable style marked the European artistic scene of the second half of the 20th century. They expose their iconoclastic photos between 1964 and 2000 series in New York. He was an avid consumer of psychedelic mushrooms. He translated the hallucinatory quality in his work and in his life: was unpredictable, erratic and crazy. To Sigmar Polke (1941-2010) dealers and art gallery owners feared him: tasaba his works on a simple whim. It was capable of inflating the price of a box to put it to the level of a masterpiece Renaissance or, conversely, reduce it as if it were a piece of street flea market.

That same attitude presided over his career. One of his best-known series is titled I Don t Really Think About Anything Too Much (don’t think too nothing, 2002). It started from the basis that no image is sacred and that anyone (a bullet of comic, an advertisement, a tourist snapshot or a press cutting) can be a work of art if handled in a certain way. Machines of paint in another, The Hunt for the Taliban and Al-Qaeda (hunting the taliban and Al Qaeda, 2002), proposing that artistic pieces may be done by painting machines (machines of painting) in which human intervention is stuck to a mechanical system settings. Throughout his adult life, this German Silesia (region which now belongs to Poland) was an avid consumer of recreational drugs.

You loved, above all, hallucinogenic mushrooms. Quality hallucinatory psilocybin, the alkaloid present in many of them, is necessary to understand his work: unpredictable, crazy and changing. Years after History of Everything (history of everything), the great anthology dedicated Tate Modern, now exposed in New York Sigmar Polke: Photoworks 1964-2000 (Sigmar Polke: photographic works 1964-2000.) Gallery Leo Koenig), an extensive anthology of your photo, perhaps not so important or ground-breaking production as the pictorial or graphic, but also representative of artist that never ceased to constrict by medium or firm. Accidental seduction Polke photos are so mysterious and difficult position stylistically as the rest of his work. They can either explain in strict terms of meaning. The organizers of the exhibition highlights the capacity of images to cause an accidental seduction in the Viewer. Bearing in mind that the artist, tireless traveler, especially by far East, he made thousands of photos during his lifetime, the selection proved complex, added the Commissioners. Perhaps most striking pieces are those taken in the catacombs of the Capuchins of Palermo (Italy) and a series of extreme experiments, in which Polke rehearsed with the ctos of radioactive material in the process of developing. Influenced in its infancy by the pop art of Robert Rauschenberg, Jasper Johns and Andy Warhol and founder in 1963 of the anti movement artistic Kapitalistischer Realismus (capitalistic realism) with Gerhard Richter, Polke detached from teachers from the seventies and He developed a career disordered, full of humor and devoid of limits. He made art with potatoes, industrial waste and remnants of posters; in the eighties he mixed painting with abrasive or toxic chemicals to expose the reaction and recently reduced its production to what called historical allegories (almost mechanical visions from control towers). Source of the news: the messy art of dining room of fungi Sigmar Polke

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