Het Ondermijnde [The Subverted]
The concerns articulated in other sub-categories are rarely encountered in pure and unadulterated form. In the art of the 1960s and ‘70s there was constant traffic between lofty, maximalist and utopian ambitions (as can be witnessed in Concretism, Minimalism and Conceptualism) and a fascination (or even obsession) with political, social and economic reality ‘such as it was’ (a driving force behind Pop Art and politically-engaged art alike). Both these approaches, the inward-looking and the outward-looking, were used by artists to form distinctly personal, idiosyncratic agendas, which are almost by definition impure, subverted versions of the more dogmatic beliefs that fuel ‘movements’ in art.
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Sand in Vaseline
Ed Ruscha, Sand in Vaseline, 1974. Painting, egg yolk, satin, 91.5 x 101.5 x 1.7 cm.
Anselm Kiefer, Märkische Heide, 1974. Painting, oil, acrylic, shellac, burlap, 118 x 254 cm.
Abstraktes Bild (nr.421) ...
Gerhard Richter, Abstraktes Bild (nr.421) [Abstract Image (No 421)], 1977. Painting, oil, canvas, 250 x 202 x 4 cm.
Sigmar Polke, Goldklumpen, 1982. Painting, gold pigment, schweinfurter green, arsenic, canvas, 261.5 x 202 cm.