The Cleveland Museum of Art presents The Believable Lie: Heinecken, Polke, and Feldmann, an exhibition focusing on relationships among the photographic work of three artists active during the 1970s that drew on ideas of surrealist/Dada culture of the 1920s and 1930s and influenced succeeding generations of photographers and media artists. The artists—Robert Heinecken,
Sigmar Polke and Hans-Peter Feldmann—hail from different backgrounds: two Germans and one Los Angeles native who all matured in the decades following World War II. The exhibition is on view now through November 30, 2014 in the museum‘s Photography Galleries.
Although the three artists each have significant exhibition histories, this is the first exhibition to bring their photographic work together, shedding light on the iconographic and formal choices they made when photography ascended into the contemporary art arena,‖ said Lisa Kurzner, The Believable Lie guest curator. ―Each embraced photography as one element of an artistic practice guided as much by literature, philosophy and an attention to popular culture as by classical formal concerns of the medium. Yet, photographic process and context remained important to them.
Costume for Feb. ’68, 1968. Robert Heinecken (American, 1931–2006). Black and white film transparency over magazine collage; 22.9 x 12.7 cm. Image courtesy Marc Selwyn Fine Art, MSFA 12274. © The Robert Heinecken Trust.
Sunset, mid-1970s. Hans-Peter Feldmann (German, b. 1941). Color Xeroxes; 105.4 x 121.9 cm (overall). © Hans-Peter Feldmann, courtesy 303 Gallery, New York. HPF 131.
Untitled (Straẞe), 1971. Sigmar Polke (German, 1941–2010). Gelatin silver print; 24 x 18 cm. Michael Werner Gallery, New York and London, POG 4103. © 2014 Estate of Sigmar Polke / Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn, Germany
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