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Extended through September 1, 2017

Anselm Kiefer

Transition from Cool to Warm

May 5–September 1, 2017
West 21st Street, New York

Installation view Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation view

Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation view Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation view

Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation view Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation view

Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation view Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation view

Artwork © Anselm Kiefer. Photo: Rob McKeever

Works Exhibited

Anselm Kiefer, aller Tage Abend, aller Abende Tag (The Evening of All Days, the Day of All Evenings), 2014 Watercolor on paper, 33 × 24 ½ inches (83.6 × 62.3 cm)© Anselm Kiefer. Photo: Charles Duprat

Anselm Kiefer, aller Tage Abend, aller Abende Tag (The Evening of All Days, the Day of All Evenings), 2014

Watercolor on paper, 33 × 24 ½ inches (83.6 × 62.3 cm)
© Anselm Kiefer. Photo: Charles Duprat

Anselm Kiefer, aller Tage Abend, aller Abende Tag (The Evening of All Days, the Day of All Evenings), 2014 Watercolor on paper, 42 ⅛ × 29 ¾ inches (107 × 75.5 cm)© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, aller Tage Abend, aller Abende Tag (The Evening of All Days, the Day of All Evenings), 2014

Watercolor on paper, 42 ⅛ × 29 ¾ inches (107 × 75.5 cm)
© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, Les extases féminines (The Feminine Ecstasies), 2013 Watercolor on paper, 65 ¾ × 60 ⅝ inches (167 × 154 cm)© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, Les extases féminines (The Feminine Ecstasies), 2013

Watercolor on paper, 65 ¾ × 60 ⅝ inches (167 × 154 cm)
© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, Extases féminines (Feminine Ecstasies), 2013 Watercolor on paper, 26 × 20 inches (66 × 50.7 cm)© Anselm Kiefer. Photo: Charles Duprat

Anselm Kiefer, Extases féminines (Feminine Ecstasies), 2013

Watercolor on paper, 26 × 20 inches (66 × 50.7 cm)
© Anselm Kiefer. Photo: Charles Duprat

Anselm Kiefer, Aurora, 2013 Watercolor on paper, 28 × 20 ⅛ inches (71 × 51 cm)© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, Aurora, 2013

Watercolor on paper, 28 × 20 ⅛ inches (71 × 51 cm)
© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, aller Tage Abend, aller Abende Tag (The Evening of All Days, the Day of All Evenings), 2013 Watercolor on paper, 20 ⅛ × 13 ¾ inches (51 × 35 cm)© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, aller Tage Abend, aller Abende Tag (The Evening of All Days, the Day of All Evenings), 2013

Watercolor on paper, 20 ⅛ × 13 ¾ inches (51 × 35 cm)
© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, Des Meeres und der Liebe Wellen (The Waves of Sea and Love), 2017 Oil, emulsion, acrylic, and lead on canvas, 74 ⅞ × 149 ⅝ × 17 inches (190 × 380 × 43 cm)© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, Des Meeres und der Liebe Wellen (The Waves of Sea and Love), 2017

Oil, emulsion, acrylic, and lead on canvas, 74 ⅞ × 149 ⅝ × 17 inches (190 × 380 × 43 cm)
© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, Schlange (Snake), 2017 Oil, emulsion, acrylic, shellac, gold leaf, clay, and metal on canvas, 149 ⅝ × 110 ¼ × 9 ⅞ inches (380 × 280 × 25 cm)© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, Schlange (Snake), 2017

Oil, emulsion, acrylic, shellac, gold leaf, clay, and metal on canvas, 149 ⅝ × 110 ¼ × 9 ⅞ inches (380 × 280 × 25 cm)
© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, Aurora, 2015–17 Oil, emulsion, acrylic, shellac, and electrolysis sediment on canvas, 110 ¼ × 149 ⅝ × 3 ⅝ inches (280 × 380 × 9 cm)© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, Aurora, 2015–17

Oil, emulsion, acrylic, shellac, and electrolysis sediment on canvas, 110 ¼ × 149 ⅝ × 3 ⅝ inches (280 × 380 × 9 cm)
© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, des Malers Atelier (The Painter’s Studio), 2016 Oil, emulsion, acrylic, and shellac on canvas, 110 ¼ × 149 ⅝ × 2 inches (280 × 380 × 5 cm)© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, des Malers Atelier (The Painter’s Studio), 2016

Oil, emulsion, acrylic, and shellac on canvas, 110 ¼ × 149 ⅝ × 2 inches (280 × 380 × 5 cm)
© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, Ignis sacer, 2016 Oil, acrylic, and emulsion on canvas, 110 ¼ × 149 ⅝ × 3 ⅝ inches (280 × 380 × 9 cm)© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, Ignis sacer, 2016

Oil, acrylic, and emulsion on canvas, 110 ¼ × 149 ⅝ × 3 ⅝ inches (280 × 380 × 9 cm)
© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, For Segantini: die bösen Mütter (For Segantini: The Bad Mothers), 2011–12 Oil, emulsion, acrylic, shellac, wood, metal, lead, and electrolysis sediment on canvas, 110 ¼ × 181 ⅛ × 21 ⅝ inches (280 × 460 × 55 cm)© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, For Segantini: die bösen Mütter (For Segantini: The Bad Mothers), 2011–12

Oil, emulsion, acrylic, shellac, wood, metal, lead, and electrolysis sediment on canvas, 110 ¼ × 181 ⅛ × 21 ⅝ inches (280 × 460 × 55 cm)
© Anselm Kiefer. Photo: Georges Poncet

About

What interests me is the transformation, not the monument. I don’t construct ruins, but I feel ruins are moments when things show themselves. A ruin is not a catastrophe. It is the moment when things can start again.
—Anselm Kiefer

Gagosian is pleased to present new paintings, artists’s books, and watercolors by Anselm Kiefer.

Employing broad-ranging and erudite literary sources, from the Old and New Testaments to the poetry of Paul Celan, Kiefer’s oeuvre makes palpable the movement and destruction of human life and, at the same time, the persistence of the delicate, lyrical, or divine.

Central to the exhibition are more than forty unique artists’s books, their pages painted with gesso to mimic marble, displayed in an installation of glass vitrines. Erotically charged female nudes and faces emerge from the pages. Artists’s books are an integral part of Kiefer’s oeuvre; over time they have ranged in scale from the intimate to the monumental, and in materials, from lead to dried plant matter. In this selection of books, the sequences of narrative information and visual effect evoke the fragile endurance of the sacred and the spiritual through the female figures on the marbled pages. They are a reminder perhaps of the sculptures of Auguste Rodin, and even of Michelangelo’s belief that his figures were “freed” from the stone with which he worked.

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From the Quarterly