Culture » Art & Design » A Polke in the Eye

  • A Polke in the Eye - Sigmar Polke
  • A Polke in the Eye - Sigmar Polke
  • A Polke in the Eye - Sigmar Polke
  • A Polke in the Eye - Sigmar Polke
  • Subscribe to W Magazine
  1. 1/6

    Untitled [Quetta, Pakistan], 1974–1978. Photograph courtesy of Alex Jamison and the Estate of Sigmar Polke/ Artist Rights Society, New York.

  2. 2/6

    Negative Value II (Mizar), 1983. Photograph courtesy of Alistair Overbruck and Estate of Sigmar Polke/ Artists Rights Society, New York.

  3. 3/6

    Raster Drawing (Portrait of Lee Harvey Oswald), 1963. Photograph courtesy of Wolfgang Morell and the Estate of Sigmar Polke/ Artists Rights Society, New York.

  4. 4/6

    Untitled (Rorschach), 1999. Photograph courtesy of Alistair Overbruck and the Estate of Sigmar Polke/ Artists Rights Society, New York.

  5. 5/6
  6. 6/6

A Polke in the Eye

The Modern Museum of Art hosts a retrospective on the late, prankster and artist Sigmar Polke.

An eternal skeptic, Sigmar Polke questioned everything—from the artist’s very role to the necessity of paint in a painting. His doubt was productive: When he died, at 69, he left behind a vast body of photographs, films, drawings, prints, sculptures, and paintings. Nearly 300 works will be on view in “Alibis: Sigmar Polke 1963–2010,” one of the most comprehensive looks yet at the pranksterish artist, who came of age in postwar Germany. The exhibition, which runs from April 19 through August 3 at New York’s Museum of Modern Art, will include “paintings” made with soot and photochemicals, as well as never-before-seen films created by the artist under the influence of hallucinogens in the ’70s. Painting while high on LSD, Polke made a mockery of artistic intent as he churned out one ravishing picture after another.