The Fashionable Markus Lüpertz

Markus Lüpertz. Photo: Rhiannon Newman

We interviewed Phillips director and Markus Lüpertz exhibition curator Dorothy Kosinski about the exhibition and the artist:

In one small gallery of the Markus Lüpertz exhibition, you’ll find a kind of manifesto that Lüpertz offered once in a question and answer session with an author, which really reveals much more about his thinking. You’ll also find two photo blow-ups of Lüpertz, and you’ll see him in his (what I consider) regalia.

In the nineteenth century, Baudelaire would have called him the “artist dandy;” the Germans talked about some artist figures as the sort of “noble artist,” and he definitely, I think, adopts almost a performative presence in the world that’s part of his art. When I had the pleasure of spending two days with him here during the installation, he wore his fedora hat, and his beautiful cravat, and his spectator’s shoes, his beautiful cane, his elegant goatee, and it’s not an act of silliness. He also explained that he’s adopting the stance to protect himself, it’s like a buffer from the triviality, the white noise of the world. He’s an artist and he needs to hold onto that endangered platform in the contemporary world, that’s how I would explain it. But you’ll see two great pictures of him that gives sense of his dynamism and keen intelligence and forceful presence.

One essential reason that provoked me to embrace this project is a clear question: why is this very famous artist, known all across Europe with many exhibitions and publications, relatively unknown in the United States? Perhaps it goes back to the fact that he’s not easy to classify, he’s not about a recognizable style, that his paintings are challenging. There are probably also market forces that impact the evolution of an artist’s career. But we’re proud here at The Phillips Collection, in conjunction with our colleagues at the Hirshhorn Museum who are staging simultaneously a Lüpertz project with us, that we can offer an in-depth look at this important artist’s career.

Dorothy Kosinski, Phillips Director and curator of Markus Lüpertz

Poetry Challenge: Men Without Women

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:

castrated fluidity:

geometry flows
unhindered by soft waters
angles bend in pain

10 questions and 10 answers by Markus Lüpertz

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.