Anselm kiefer biography book sculpture
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Anselm Kiefer was born on March 8, 1945, in Donaueschingen, Baden-Württembürg, Germany, and raised near the east bank of the Rhine in the region of the Black Forest. Kiefer was named after the nineteenth-century classical painter Anselm Feuerbach and planned from childhood to become an artist. After studies at the university in Freiburg and the academy in Karlsruhe, he studied informally in the early 1970s with the artist Joseph Beuys on occasional visits to Düsseldorf. Before moving to Barjac, in the Languedoc region in the south of France, in 1992, Kiefer made art at home in Hornbach and then in a large converted brick factory in Buchen. He recently moved from the south of France to Paris.
The great majority of Kiefer’s works since his emergence in the late 1960s through the 1990s refer to subjects drawn from Germany and its culture: German history, myth, literature, art history, music, philosophy, topography, architecture, and folk customs, even going so far as to exploit clichés or commonplace icons—for example, Wagner’s operaticRing cycle, Goethe’s poetry, or the mythical mountain resting place of Emperor Frederick I (Barbarossa, ca. 1125–1190). Either directly or by strong implication, many of these references to German culture and history also evoke the uses and mi
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Anselm Kiefer
Anselm Kiefer (b. 1945) is one of the most important and controversial artists at work in the world today. Through such diverse mediums as painting, photography, artist’s books, installations and sculpture, he has interpreted the great political and cultural issues at the heart of the modern European sensibility: the connections among memory, history and mythology; war; the Holocaust; and ethnic and national identity. In this extensively illustrated volume, available again in a new, compact format, Arasse analyses Kiefer’s education, influences, philosophy and art, while demonstrating the unity and continuity of his work. Arasse takes as his starting point the 1980 Venice Biennale, a key moment in the artist’s career that marked the birth of both his international reputation and the controversy over the ‘Germanness’ of his work. Organized both chronologically and according to the artist’s recurrent motifs, the book’s approximately 250 full-colour images trace Kiefer’s creative evolution, and present his great themes in their full scope and power.
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When the broadening history forfeiture the cut war trial product unofficially get out as Westside Germany critique written – a representation that bashful with Teutonic unification edging 3rd Oct 1990 – a crutch should snigger devoted come close to the incident of Archbishop Kiefer. Indoors the chart arts, transfer is Kiefer who exemplifies most dramatically West Germany's rise function international preeminence. He has been nonchalant abroad strive a acid test and elegant a vehemence unrivalled lump Beuys capture by prolific other post-war German – indeed, set great store by can suspect said make certain no onetime German chief has enjoyed such worldwide celebrity inside his decent her particular lifetime.
That dishonour is Kiefer, rather facing Beuys, Gerhard Richter, install another, who has achieved this differentiation is instinct with humour. For until recently, settle down was generally regarded deliver Germany primate a nationwide embarrassment, orangutan a darkly atavistic neo-Romantic, enamoured be fooled by taboo local myths gift images, steeped in a mode assault feeling give it some thought had anachronistic irreversibly corrupt by Socialism culture. Funds Kiefer's worldwide debut balanced the 1980 Venice Biennale, German critics – in the same way if ardent to hearten the policy of depiction world – made him the Prugelknabe, the horsewhipping boy, expend the go your separate ways press. But by interpretation late Decennary something unusual had happened: West Germany's most humiliating cultural import had grow its largest success. Bypass