The conservator’s eye: Anselm Kiefer, Bohemia Lies by the Sea발음듣기
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The conservator’s eye: Anselm Kiefer, Bohemia Lies by the Sea
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(soft piano music)[Steven] We're in the large contemporary galleries at the Metropolitan Museum of Art looking at a really large canvas by Anselm Kiefer.발음듣기
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It's hard to even call it a canvas because the surface is so built up that there is no reference to the flatness of the cloth underlayer.발음듣기
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[Corey] It's very thickly painted and Kiefer's certainly taking advantage of the sculptural qualities of the painting.발음듣기
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When we think about the application of paint we generally think about relatively thin material that's applied with a brush occasionally with a pallet knife.발음듣기
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[Corey] He also adds a lot of natural materials like straw, which decay and discolor and perhaps become dry and fall off quite rapidly.발음듣기
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If we think back to European traditional paintings from guilds and academies etcetera there are very well codified recipes for how a painter's allowed to make a painting.발음듣기
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Part of that is about how to make a beautiful painting but in fact an equal part of it is about how to make a painting that lasts.발음듣기
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Because after all, many of these are religious paintings part of their meaning is their timelessness or other ones are commodities.발음듣기
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[Steven] But here in the late 20th and 21st century we have artists who are upending that idea of the eternal nature of work of art.발음듣기
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On the one hand the idea that an artist can use any material and any process to make a work of art is very exciting because now creative possibilities explode in so many different directions.발음듣기
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On the other hand, there are some very dramatic consequences where things don't necessarily stay as structurally sound and stable as they used to since we're disregarding many of those recipes.발음듣기
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[Steven] And even here with this painting you get the sense of the stress from the weight of the paint pulling on the under support, which in this case is burlap.발음듣기
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[Corey] We're looking at an extreme example of deviation from classical painting techniques.발음듣기
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But what's really interesting here is that now in the 21st century especially artists are beginning to find sources of meaning in the aging processes of their materials.발음듣기
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[Steven] It's such an irony because now when we have a greater understanding of the chemistry of works of art than ever before in history we're creating works that ever more ephemeral.발음듣기
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[Corey] And certainly this is not that new of an idea if we go back to the sculptures of Naum Gabo.발음듣기
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Now, there's no way this kind of idea would ever been permissible if you were working in a guild or an academy because there's no guarantee how that's gonna age.발음듣기
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This is a vertical canvas, it is still a colored paste that is applied to that surface it is still painting in some respects.발음듣기
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Now if we can imagine that same chunk if it had fallen off from, let's say a 19th century academic painting, this is disastrous.발음듣기
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[Corey] Well, having worked on a number of Kiefer's myself I can tell you yes, we do collect them.발음듣기
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But I've worked on Kiefer's that, believe it or not are three of four times as large as this one and I've large chunks of paint that I just can't find where they came from.발음듣기
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[Steven] And Kiefer himself has been somewhat nonchalant in his response saying "If something comes off, let's just put it back on".발음듣기
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[Corey] Kiefer's a very poetic artist and so much of his poetry is about these very dramatic appearances of decay and fragility.발음듣기
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So much of his work references this German and Austrian consciousness of history especially the dark chapters.발음듣기
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So the fields fill our entire view and for me this is always a reminder of the soil of the German heartland which in the 1970s and '80s was a very brave act at the moment when Germany was just coming to terms with its immediate past.발음듣기
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It's a kind of nostalgia that he's addressing poetically with these materials that themselves fail crack and fall apart.발음듣기
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[Steven] I think it's easy for us to forget how much Germany has contributed to civilization and so many German intellectuals never believed that somebody like Hitler could take power.발음듣기
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And it feels like, in Kiefer's layering process this archeology of paint that Kiefer's able to expose those layers of history even as he builds up paint that he knows will eventually fall off.발음듣기
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