Talk:Anselm Kiefer

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"...body massager..."

I believe this page to have been vandalised; this claim is not supported other than when the passage has been directly copied from this source. The paragraph reads "Kiefer began his career as a body massager with performances in which he mimicked the Nazi salute calling for Germans to remember and to acknowledge the loss to their culture through the mad xenophobia of the Third Reich." Having studied him, It is known to me that Kiefer began his career as a performance and Conceptual artist with the series "Besetzungen (Occupations)" in which he is photographed mimicking the Nazi salute. ^[1]

If Anselm Kiefer truely was at some point a body massager, it is misplaced within the article, and is misleading when discussing his early photography and first exhibition, "Besetzungen (Occupations)".

I therefore request that the article is changed to read as follows:

"Kiefer began his career as a photographer with performances in which he mimicked the Nazi salute calling for Germans to remember and to acknowledge the loss to their culture through the mad xenophobia of the Third Reich."

Marshontom (talk) 20:36, 2 January 2009 (UTC)[reply]

References

^ http://query.nytimes.com/gst/fullpage.html?res=9F0CE7DE113AF934A35756C0A965958260

German translation

I thought I'd start translating the German wikipedia entry on Anselm Kiefer, graf by graf:

Anselm Kiefer (born March 8, 1945 in Donaueschingen) is a German painter and sculptor. He later moved to Rastatt and then studied visual arts under Peter Dreher in Freiburg im Breisgau, under Horst Antes in Karlsruhe, and under Joseph Beuys in Düsseldorf. In 1969, he had his first solo exhibition, presenting the series of paintings, "Occupations," in Karlsruhe.

Kiefer counts among the best-known, most successful and most controversial post-War German artists. He first became known for his Materialbilder; that is, pictures that are not painted or drawn, but composed of various materials. Over the course of his oeuvre, Kiefer addresses the past, touching especially on taboos and trends in contemporary history. Thus, the theme of Nazi Germany has drawn his attention: for the painting "Margarethe" (oil and straw on canvas) the well-known poem "Death Fugue," by Paul Celan, served as inspiration. The result has been a decades-long controversy in the media over the worth of his artistic production.

During his time in Düsseldorf, Kiefer oriented himself stylistically along the lines of Georg Baselitz: thickly appllied layers of color worked over with fire and edge tools, and combined with glass, wood and vegetal elements. In the 1970s he explored German mythology (see also: Jonathan Meese), and in the 1980s he became interested in Jewish mysticism, notably the Kabbala. During extended trips in the Americas, Europe and the Middle East, Kiefer found a number of new influences, from which impressive new work arose. Alongside paintings, Kiefer began to make watercolors, woodcuts, colored photos and books.

His pieces manifest a suffocating, almost depressive and destructive style...Chrisvnicholson 19:32, 26 June 2007 (UTC)[reply]

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Translation vs. original english wiki entry?

The whole article is a rather mediocre translation of a german text ("Peace price of the german", what was it again, "bookstores"?). Aside from the question, if wiki articles should reflect the reception of its object in the respective language region it oozes adulation imho. Daphe (talk) 11:44, 6 January 2024 (UTC)[reply]

[1] ttp://query.nytimes.com/gst/fullpage.html?res=9F0CE7DE113AF934A35756C0A965958260

[1]