In addition to being an artist, Markus Lüpertz was a poet. Throughout the exhibition, share your Lüpertz-inspired poems with us to win prizes. Every other week, we’ll issue a new poetry challenge based on images or themes in the exhibition for fresh inspiration and chances to win.
Männer ohne Frauen. Parsifal (Men without Women: Parsifal), 1993. Oil and tempera on cardboard, 33 x 20 1/2 in. Private collection
THIS WEEK’S CHALLENGE:
Create a haiku describing what you see in Lüpertz’s Männer ohne Frauen. Parsifal (Men without Women: Parsifal). A traditional haiku is a three-line poem with seventeen syllables, written in a 5/7/5 syllable count.
THIS WEEK’S PRIZE: Exhibition Prize Package (exhibition catalogue and other goodies from the museum shop)
TO ENTER: Leave your poem in the comments here, or share on social media with #LupertzPoem. We’ll select winners on Friday, August 4.
**UPDATE: The winning poem was submitted by Macie McKitrick:
unhindered by soft waters
angles bend in pain
I. Why do you paint?
I can feel the pressure of the thumb from on high. That leads to a disruption, a defect. And in the same way that the wounded oyster gives birth to the beautiful pearl, this pressure forces me to paint.
II. What do you want from painting?
Painting is culture, and who says culture says substance of the world. Painting provides the vocabulary to make the world visible.
III. What is painting?
Painting plummets the divine into perceptibility, by means of the eye — it sees the times, it is abstract thought and makes us conceive worlds and inter-worlds.
Markus Lüpertz. Photo: Rhiannon Newman
IV. What does abstract mean?
The manner of looking at, and of working with, my disruption, my defect. Abstraction is the result of the artist’s egotism. There are only abstract paintings. Painting is an abstract product, and it is only through the viewer that it tells a story. (Painting does not educate the person looking at it, it does not provide lessons, but it takes the viewer seriously and ennobles him by assuming an intellectually emancipated world.)
V. Is painting necessary?
Without painting the world is only consumed, it is not perceived.
VI. Can painting be learned?
No! Without congenital infirmity, it does not work. But through assiduous work, one can achieve a great deal and, by dint of what one accomplishes, approach great painting.
VII. Can the painter fail?
Yes, because it takes a great deal of discipline to see through to the end what one needs to do. For new painting is always born out of dissatisfaction with the previous one.
Installation view of the Markus Lüpertz exhibition at the Phillips. Photo: Lee Stalsworth
VIII. What is the painter’s success?
Influence over the period. Respect from his competitors. His own endless energy.
IX. What is the painter’s situation in society?
He is the cultural conscience of his times. The more a period allows great painters to exist, the more civilized it is.
X. Does painting today have a relationship with religion?
Painting is godless! When spirits and God played a part in painting, it was taboo. Today, during the twilight of the gods, it is the light, emphatic and absolutist, in conflict with a blindness that is overtaking the whole world.
Brooklyn-born poet and author of Seam, Tarfia Faizullah speaks at the Phillips as part of the Asian American Literature Festival on July 28. As a featured writer, Curatorial Research Intern at the Smithsonian Asian Pacific American Center Carlo Tuason asked her a few questions about her work and the state of contemporary Asian American literature.
What do you think having an Asian American literature festival means to the broader Asian American community? What does it mean in regards to the state of Asian American literature?
I think it’s always interesting to get folks of different generations, heritages, life experiences, talents, and perspectives into the same space at the same time, because it shows us what is possible, and how far we have already come. Some of the folks who will be there have provided, in decades past, the initial momentum and ambition that have helped newcomers blaze their own wondrous trails through the world of arts and letters. We have much to learn from each other, and we shouldn’t be content to merely maintain our own individual silos of experience—I’m excited about how different we all are from each other, as well as where we overlap and intersect. I hope to eavesdrop on as many conversations as I can! In all seriousness, this is an opportunity to add another point of view to our own, and to find enjoyment in each other’s company, which I don’t think should be underestimated as a potentially powerful tool of change. I just took another look at the lineup and schedule for the festival, and frankly, it means a time spent listening to, and being around, extraordinary and extraordinarily decent people who have a lot to share.
What do you want festival attendees to take away from “Tea with Tarfia”?
Registers of Illuminated Villages, Tarfia Faizullah. Releasing in March 2018.
I have so many fond memories of listening to my mother and her friends speaking intimately and openly to each other over tea. I was often surprised by how deep and vast the conversations could be. Sometimes, my mother and her friends would challenge each other’s perspectives, and it would lead not necessarily to agreement, but to understanding, which actually seems more difficult to achieve. My mother is still close with those friends, and I still return to and value the insights I got from just listening to the way others think. I appreciate that informality can lead to surprising and surprisingly deep forms of connection and intimacy. I’m hoping we’ll learn something fascinating about ourselves and each other in all sorts of delightful and unforeseen ways, and I’m hoping for laughter.
Also, these days, I’m often the one in the hot seat, so I’m excited for the chance to ask others what their current and primary concerns are. My hope is that folks who come will experience the pleasure of spontaneous, connective, and candid conversations, and that we’ll all leave with insights that may aid us in sorting through and better understanding the nuances of our own lives and the lives of others. Basically, I’ve always secretly maybe wanted to host my own talk show, and this is my chance! We’ll have tea! And I’ll have lots of questions.
Are there any themes that permeate throughout your work?
I would say there are certain obsessions that keep choosing me—memory, its fallibility/flexibility—time, basically, and how to express the strange music of all this pain and love and sorrow and joy.