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Per Kirkeby: Paintings and Sculpture (Phillips Collection), by Klaus Ottmann, Dorothy Kosinski
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Per Kirkeby (b. 1938) is Scandinavia's most highly acclaimed artist since August Strindberg and Asger Jorn. His early training as a geologist is evident in his richly layered canvases, which are structured like geological strata, constantly in flux, expressing movement and change over time. His striking bronze sculptures of fragmented body parts, reminiscent of Rodin, are similarly based in a deep dialogue with nature.
Per Kirkeby: Paintings and Sculpture is an essential introduction to the work of this important contemporary artist, who also is a filmmaker, writer, and poet. Klaus Ottmann provides an overview of Kirkeby's career, from his early association with Minimalism and the Fluxus movement in the 1960s to his recent work, which marries the poetic and metaphysical to the scientific investigation of object matter. This handsome book also features an interview by Dorothy Kosinski with the artist that highlights his unique approach.
- Sales Rank: #1406497 in Books
- Brand: Brand: Yale University Press
- Published on: 2012-11-27
- Original language: English
- Number of items: 1
- Dimensions: 9.20" h x .80" w x 9.30" l, 1.95 pounds
- Binding: Hardcover
- 144 pages
- Used Book in Good Condition
Review
“This well-wrought introduction to the Danish painter and sculptor affords sound passage into Kirkeby’s stirring but often oblique world.”—Publishers Weekly (Publishers Weekly)
“Wild energy is unshackled in Per Kirkeby’s paintings: earthquakes, infernos, uprooted trees. . . . his paintings suggest a geological layering of time, of ancient unseen forces at work. . . . and his sculptures look yanked from the earth’s core.”—Dana Jennings, New York Times
(Dana Jennings The New York TImes)
About the Author
Dorothy Kosinski is director of The Phillips Collection. Klaus Ottmann is director of the Center for the Study of Modern Art and curator at large at The Phillips Collection.
Most helpful customer reviews
11 of 11 people found the following review helpful.
Per Kirkeby at The Phillips Collection
By Kenneth Hughes
This is the volume that accompanies the current exhibition at The Phillips Collection in Washington, D.C. (October 2012 to January 2013), which will subsequently travel to the Bowdoin College Museum of Art (March to June, 2013). Although for a couple of decades the Danish artist Per Kirkeby (b. 1938) has been a familiar presence at European exhibitions of contemporary art, he has been far less known and far less shown in this country. One can only hope that this exhibition, which is the largest and most comprehensive to date in the U.S., will change that, because Kirkeby is an artist to reckon with, a kind of polymathic creative dynamo active and productive in many fields at once. Not only is he one of the most widely acclaimed Scandinavian painters since Edvard Munch and a prolific sculptor in brick and bronze, he has, in addition, written more than seventy books (poems, novels, essays, and over a dozen studies of individual artists from Bellini to Kurt Schwitters), made more than twenty films (among them a short on "Brigitte Bardot" [1968] and the feature film "The Normans" [1976], based on Saxo Grammaticus's 12th-century history of the Danes), designed costumes and sets for the New York City Ballet, and created title art for some of the films of his countryman Lars von Trier. In his spare time he is also an architect specializing in the design of brick houses and a university-educated geologist. "I am extremely restless," as he puts it in an interview in the volume (27).
That interview, conducted with Dorothy Kosinski, Director of The Phillips, touches on topics such as Kirkeby's perceived need to free himself from art history (except when he wants to "steal" from it); the necessity that a painting have a strong structure and that it mean something ("even if you do not know exactly what it's about" [37]); his experiences as a teacher; Cezanne as the beginning of modern art; the slow gestation of his own paintings; etc., and provides some insight into his thinking about painting and his working methods. The other prefatory piece is a short essay by Klaus Ottmann, a Phillips curator, on the connection between Kirkeby's art and his training as a geologist, his development as an artist and association with contemporary artists' groups (CoBrA, Fluxus, etc.), and some of the historical and philosophical underpinnings of his work, from Constable to Wittgenstein. In his interpretation, the major aim of Kirkeby's artistic project is the "designification" of painting, in a manner similar to Alain Robbe-Grillet's attempt to "designify" literature in his "New Novel." These two pieces together provide a serviceable introduction to the works presented here. They are reproduced in full-page plates, twenty-six of paintings from 1967 to 2009 and eleven of sculptures from 1981 to 2010. The paintings--with the exception of the cover illustration--are all abstract. Two favored kinds are chalk and blackboard paint or oil and mixed media on 4'x4' Masonite. There are also much larger paintings in oil or tempera on canvas, and although Kirkeby insists that they are not landscapes (37), many of them certainly remind us of landscapes--and some even conjure forms of figure painting. One outstanding characteristic of this work is the diversity of his palette and the boldness of his color combinations. The sculptures, all bronzes, are either about one to two feet in height and named ("Gate," "Large Head," etc.) or non-figurative flatter pieces, simply numbered, but equally suggestive of recognizable forms as are the abstract paintings. The volume concludes with a short chronology of Kirkeby's career, a selected list of exhibitions, and a selected bibliography. This is a very well edited and attractively produced catalogue (Yale University Press), and as such, although quite brief (133 pp.), it is a fine introduction to an artist who is far too compelling to be so little known on this side of the ocean.
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Five Stars
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