Appropriation








Gerhard Richter, September, 2005, oil on canvas, 52 cm x 72 cm (Museum of Modern Art, New York)
Richter revives the genre of history painting in the 21st century in this work showing the events of 9/11.

Gerhard Richter, September



Gerhard Richter, Betty, 1988, oil on canvas, 102 x 72cm (Saint Louis Art Museum)
Hyperreal paintings like “Betty” are just one part of Richter’s practice, which resists stylistic classification.

Gerhard Richter, Betty






Anselm Kiefer, Shulamite, 1983, oil, emulsion, woodcut, shellac, acrylic, and straw on canvas, 213 x 145" / 541 x 368.3 cm (Doris and Donald Fisher Collection) © Anselm Kiefer, courtesy of the artist
In this canvas, Kiefer transformed architecture meant to honor Nazi heros into a memorial for their victims.

Anselm Kiefer, Shulamite




Sigmar Polke, Bunnies - detail
Hugh Hefner turned women into objects, and Sigmar Polke turned those objects into dots.

Sigmar Polke, Bunnies


Gerhard Richter, Uncle Rudi, 1965, oil on canvas, 87 x 50 cm (Lidice Gallery, Lidice, Czech Republic) used with permission of the Gerhard Richter studio
Richter toys with both visual and ethical clarity in this evocative, ambiguous painting of an uncle lost to WWII.

Gerhard Richter, Uncle Rudi




Jeff Koons, Pink Panther, 1988, glazed porcelain, 104.1 x 52 x 48.2 cm (The Museum of Modern Art, New York) (photo: LP, CC BY-NC-ND 2.0)
Koons’ cartoonish life-size emblems of childhood innocence are an assault upon both sincerity and taste.

Jeff Koons, Pink Panther