|Glenn Lowry, Director of MOMA, welcoming the press at preview of Martin Kippenberger exhibition.|
|Martin Kippenberger: The Problem Perspective
March 1-May 11, 2009
MOMA Presents First Major U.S. Retrospective
of Influential German Artist
This is an exhibition you will not want to miss. One of the most significant and influential artists of our time, Martin Kippenberger, was also one of the most prolific. Sadly he died from liver cancer when he was only 44. This show includes paintings, sculptures, installations, multiples, drawings, photographs, posters, announcement cards, and books.
The exhibit is accompanied by a fully-illustrated 372-page catalogue which constitutes a comprehensive examination of the artist's career and includes excellent essays by MOCA curator Ann Goldstein and MOMA’S Chief Curator of Painting and Sculpture, Ann Temkin.
There will be a panel discussion “Knowing Kippenberger,” at the Museum on Tuesday, April 14th at 6:30 pm at The Roy and Niuta Titus Theater.
It’s a huge collection on two floors. Go to the 6th floor first and look out over the balcony onto the Kippenberger installation in the atrium four floors down. Treat yourself to the audio. And read Holland Cotter’s review in The New York Times.
|This Exhibition was originally organized by The Museum of Contemporary Art, Los Angeles (MOCA), and was curated by Ann Goldstein (above) who is standing in front of Untitled from the series, Dear Painter, Paint for Me, 1981; Acrylic on Canvas.|
|Ann Temkin, Curator of the Kippenberger Show at MOMA. She is standing in front of Untitled from the series of The Raft of Medusa, 1996, Oil on Canvas.|
|Art Critic, Amei Wallach, in front of painting entitled, The Problem Perspective. You Are Not the Problem, it's the Problem-Maker in Your Head, 1986; Oil on canvas. Wallach's superb documentary on artist Louise Bourgeois, "The Spider, the Mistress and the Tangerine" is available on DVD.|
|Maria Escalante viewing The Modern House of Believing or Not, 1985; Oil on Canvas.
|Selected Posters, 1978-1997.|
|View of 2nd floor installation from above, The Happy End of Franz Kafka's 'Amerika,' 1994; Mixed media, furniture, slide projectors, video projectors, TV monitors, green flooring with white lines, and bleachers.|
|Details from The Happy End of Franz Kafka's 'Amerika,' 1994.|
|Henry and Marie-Josée Kravis, MOMA Director Glenn Lowry, and Ann Temkin, who was appointed The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture at The Museum of Modern Art in 2008.|
|Marie-Josée and Henry Kravis.||Glenn Lowry and Ann Temkin, who co-curated the show.|
|Jan Fletcher with Randy Slifka. Slifka's father founded The Big Apple Circus. In Randy's words, "One Sunday afternoon my father saw two clowns juggling down on Washington Square and the rest is history."||Susan Augustine, Ann Temkin, and Roland Augustine.|
|Willy Lowry, 21-year-old student at Concordia where he is a journalism major.|
|Susan, Willy, and Alexis Lowry.
|Irina Aleksander, a reporter for The New York Observer. She covers the social scene.||Gallery owner Roland Augustine with Susan and Glenn Lowry. Augustine handles the work of the late artist, Martin Kippenberger.|
|Helen Varola, artist Jutta Koether (a former girlfriend of Martin Kippenberger — they greatly influenced one another's work), and Marilia Bezerra.|
|Jerry I. Speyer, Chairman of Moma's Board of Trustees with Director, Glenn Lowry.||Lisa Phillips, Director of The New Museum and one of the lenders to the exhibition.|
|Spiderman Studio, 1996; Wood, metal, plastic, plexiglas, mirrors, bronze, styrofoam, painted canvasses, vodka bottle, and balsa.|
|Capri by Night (1982). The lights are on during public hours. Kippenberger was fascinated by the German obsession with the Ford Capri, an affordable, American-made pseudo-European sports car popular during the 1970s. He featured it in a number of works, including Capri by Night, 1982, with Albert Oehlen, an actual car covered in orange-brown paint mixed with oat flakes.|
|Now I Am Going Into the Big Birch Wood, My Pills Will Soon Start Doing Me Good, 1990.|
|Likeable Communist Woman; 1983; Oil on canvas.||Was God a Bungler, 1984; Oil on Canvas.|
|Down with Inflation, 1984; Oil and silicone on canvas.|
|War Wicked, 1983.|
|With the Best Will in the World I Can't See a Swastika, 1984; Oil and plastic on canvas.||Untitled, 1988; Oil on Canvas. This is on cover of press folder.|
|Snow White's Coffin, 1989; Plexiglas, synthetic foam, and metal. On the wall: Untitled, 1988;
Oil on canvas.
|Untitled from the series Jacqueline: The Paintings Pablo Couldn't Paint Anymore, 1996; Oil on canvas.||Untitled from the series Jacqueline: The Paintings Pablo Couldn't Paint Anymore, 1996; Oil on canvas.|
|Untitled (Skeleton Egg), 1996; Wood with traces of color, melamine resin and plastic.|
|Untitled, 1991; Watercolor on paper.||Untitled from the series, Fred the Frog, 1990; Oil on canvas.|
|Martin, Into the Corner, You Should Be Ashamed of Yourself, 1992; Cast Aluminum, clothing and iron plate. Right: Mother of Joseph Beuys, 1984; Oil on Canvas.|
|Venice-MOCA-Dreamway, 1990. Mixed media on canvas and metal chain with plastic coating.||Untitled, 1991; Latex, plastic and pigment on canvas.|
|The Modern House of Believing or Not, 1985; Oil on canvas.|
|Self portrait, Martin Kippenberger.
|Feet First, 1990; Wood, motor car lacquer, and steel nails.||Close up of Feet First, 1990. A very controversial piece when exhibited for the first time.|
|Hardcover Catalogue, "Martin Kippenberger: The Problem Perspective," on sale at MOMA; 372 pages; $44.95. I found it to be an interesting overview of the artist and his work. So will you.|
|All photographs © by Jill Krementz: all rights reserved.|