110509: Deutsche Guggenheim Berlin: Picturing America: Photorealism of the 70s

Deutsche Guggenheim Berlin: Picturing America: Photorealism of the 70s Dead end Photorealism was an insult, a punch in the face of all those – artists and critics – who simply wanted to continue writing art history. Not only did photorealism attempt to resurrect a genre, it also utilized the obsolete principle of mimesis, devoted itself completely to figurative art. But the biggest impertinence in this double regression was the blatant usage of photography as a source – a measure already applied in the old days of the camera obscura, but always secretly, as a painter had to ensure that he presents his genuine geniality. Dim-witted copying was not tolerated, at least not by the guardians of high art, even if collectors purchased these works with great enthusiasm (probably one of the reasons why the MUMOK, the Ludwig Foundation, is so strongly represented here). But from today’s perspective, and in view of this exhibition with the largest overview in Germany for the past 30 years, one can say: the guardians were right. Photorealism was not the main path or a side path in art history, but more of a dead end - for two reasons: first and foremost, because painting will go on forever, and second, at the end of the 60s, something had irrevocably arisen in American everyday life, which was in need of realistic expression. And this is the obvious insufficiency of photorealism: it only depicts the factual status of a demonstrable existence. Not an inkling of criticism, on the contrary: even the most banal object, such as a chewing gum machine, photographed minutely and with great effort, attains something factually affirmative. And this is - especially as we are all suffering from the effects of American consumer culture - a very irritating experience. Photorealism is convincing as a technical phenomenon: one is always surprised by its artistic proficiency, the Trompe-l’oeil Effect (optical illusion), something already highly appreciated in ancient Greece. But it does not amount to anything more than that. Unless one wants to add that it has paradoxically contributed to elevate photography as a form of art. After all – dead ends can sometimes lead somewhere. Peter Kunitzky Deutsche Guggenheim Berlin 10117 Berlin, Unter den Linden 13- 15, until 10.05.09 www.deutsche-guggenheim-berlin.de

Mehr Texte von translated and summarized by: Liz Wollner-Grandville

110509

Deutsche Guggenheim Berlin
10117 Berlin, Unter den Linden 13 - 15
Tel: 0049 (0) 30 20 20 93 0, Fax: 0049 (0) 30 20 20 93 20
Email: berlin.guggenheim@db.com
http://www.deutsche-guggenheim-berlin.de

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