Sigmar Polke

10 May 2014 / ,

Walking into a Sigmar Polke exhibition is like going to a garage sale, it’s sporadic, diverse, very personal, and there are gems scattered everywhere. Of course this garage sale is Sigmar Polke’s, and nothing is in your price range, but it offers the chance to get a glimpse into his intriguing life and work. Alibis: Sigmar Polke 1963–2010 at the MoMA (garage) presents a massive collection of Polke’s work throughout his life, spanning video, sculpture, painting, photography, and stained glass. He liked to use a variety of materials in his work, often the stranger the better (from dirt to uranium) to visualize his sociopolitical views. Polke is unclassifiable, but that’s possibly a classification in itself; one thing is for sure: Polke never settled into a “style,” always experimented, and thrust himself fully into whatever medium or material interested him. To me, this makes me more interested, and I find myself enjoying each new discovery much more than say, the banality of 20 similarly styled paintings. This garage sale is definitely worth a look, now through August 3 at the MoMA, learn more here.

Sigmar Polke, Untitled (Dr. Bonn), 1978.
Sigmar Polke, Mrs. Autumn and Her Two Daughters, 1991.
Sigmar Polke, Negative Value II (Mizar), 1982.
Sigmar Polke, Untitled (Quetta, Pakistan), 1974-78.
Sigmar Polke, Watchtower, 1984.
Sigmar Polke, The Illusionist, 2007.
Sigmar Polke, Chocolate Painting (Schokoladenbild), 1964.
Sigmar Polke, Telephone Drawing (Telefonzeichnung), 1975.
Sigmar Polke, Spread from Bulletproof Holidays, 1995.
Sigmar Polke, “Warst du auch in Brokdorf?” (Were you in Brokdorf, too?), 1977.