http://www.artsconnected.org/resource/90705/richard-flood-discusses-sigmar-polke-s-frau-herbst-und-ihre-zwei-t-ouml-chter-mrs-autumn-and-her-two-daughters-1991 ArtsConnectEd.org Art Collector Set: Richard Flood discusses Sigmar Polke's <i>Frau Herbst und ihre zwei T&ouml;chter (Mrs. Autumn and Her Two Daughters)</i> (1991) http://www.artsconnected.org/images/favicon.png http://www.artsconnected.org/resource/90705/richard-flood-discusses-sigmar-polke-s-frau-herbst-und-ihre-zwei-t-ouml-chter-mrs-autumn-and-her-two-daughters-1991 16 16 http://www.artsconnected.org/resource/90705/richard-flood-discusses-sigmar-polke-s-frau-herbst-und-ihre-zwei-t-ouml-chter-mrs-autumn-and-her-two-daughters-1991 Tue, 01 Jun 1999 00:00:00 -0400 <table cellspacing="0"> <tr> <td class="detail_label">Title</td> <td><h3>Richard Flood discusses Sigmar Polke's <i>Frau Herbst und ihre zwei T&ouml;chter (Mrs. Autumn and Her Two Daughters)</i> (1991)</h3></td> </tr> <tr> <td class="detail_label">Author</td> <td><h3>Richard Flood</h3></td> </tr> <tr> <td class="detail_label">Date</td> <td><h3>September 1999</h3></td> </tr> <tr> <td class="detail_label" style="padding-right:7px;">Institution</td> <td>Walker Art Center</td> </tr> </table><br/>Sigmar Polke is probably the closest thing we have to a history painter in the latter part of the century, but the history is, as we have come to know history, not a clean narrative. It's a jumble of a lot of different kinds of information. It's what we perceive to be the fact, but it's also how the fact becomes enhanced by the fiction and how the fiction has a need to get more poetic in order not to have to be substantiated by further facts. So, you have this meta thing and, then, you put it on a transparent surface, this totally permeable skin, that is accepting light and at the same time dealing with the notion of illusionistic space, but in a very real architectural way, just lifting it off the wall, allowing you to see the support structure through it. I think his contribution is bigger than I'm describing. At the same time, it's amazing that people did not think of this earlier. It's kind of astounding. All of these things look quite simple. Was that a big idea? Actually, yes, it was a big idea. But did the big idea have to be complicated? Not really. I take great heart in that as well http://www.artsconnected.org/resource/90705/richard-flood-discusses-sigmar-polke-s-frau-herbst-und-ihre-zwei-t-ouml-chter-mrs-autumn-and-her-two-daughters-1991 Sigmar Polke is probably the closest thing we have to a history painter in the latter part of the century, but the history is, as we have come to know history, not a clean narrative. It's a jumble of a lot of different kinds of information. It's what we perceive to be the fact, but it's also how the fact becomes enhanced by the fiction and how the fiction has a need to get more poetic in order not to have to be substantiated by further facts. So, you have this meta thing and, then, you put it on a transparent surface, this totally permeable skin, that is accepting light and at the same time dealing with the notion of illusionistic space, but in a very real architectural way, just lifting it off the wall, allowing you to see the support structure through it. I think his contribution is bigger than I'm describing. At the same time, it's amazing that people did not think of this earlier. It's kind of astounding. All of these things look quite simple. Was that a big idea? Actually, yes, it was a big idea. But did the big idea have to be complicated? Not really. I take great heart in that as well" type="image/jpeg" />Sigmar Polke is probably the closest thing we have to a history painter in the latter part of the century, but the history is, as we have come to know history, not a clean narrative. It's a jumble of a lot of different kinds of information. It's what we perceive to be the fact, but it's also how the fact becomes enhanced by the fiction and how the fiction has a need to get more poetic in order not to have to be substantiated by further facts. So, you have this meta thing and, then, you put it on a transparent surface, this totally permeable skin, that is accepting light and at the same time dealing with the notion of illusionistic space, but in a very real architectural way, just lifting it off the wall, allowing you to see the support structure through it. I think his contribution is bigger than I'm describing. At the same time, it's amazing that people did not think of this earlier. It's kind of astounding. All of these things look quite simple. Was that a big idea? Actually, yes, it was a big idea. But did the big idea have to be complicated? Not really. I take great heart in that as well" type="image/jpeg" />Copyright 1999 Walker Art CenterRichard Flood