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A view into our world at Suzanne Lovell, Inc. and the ideas that inspire us daily. 

German painter and sculptor, Anselm Kiefer, was "fortunate" enough to have had the entire continent of Europe as his canvas. Born in 1945 in postwar Europe, Kiefer has spent his entire career exploring how his country rebuilt itself in the aftermath of World War II.

Kiefer is unique in that he never steered clear of, or avoided, his country's controversial past history. The guilt and horror of the Holocaust and the Nazi rule wasn't something represented in art previously. Kiefer took on that subject with a vengeance. Early on, Kiefer incorporated German mythology into his works; and in the following years, he tested out the idea of the Kabbalah. His themes, throughout his career, have continued to include Hebrew and Egyptian history. As you can see, his range is quite wide. 

Incorporating materials such as ash, clay and straw, the pieces Kiefer creates aren't filled with hope and lightness. Nevertheless, they are important in ensuring that we understand the pragmatism of regaining a corrupted culture after the horrors of it's past.

Through August 27th, Anselm Kiefer displays pieces of ugliness and war at the Nova Southeastern University (NSU) Art Museum.

"The Fertile Crescent”.

Image courtesy of: South Florida Luxury Guide 

How beautiful... and striking!

Image courtesy of: Trip Advisor

“Die Orden der Nacht” (“The Orders of the Night,” 1996), acrylic, emulsion, and shellac on canvas (Seattle Art Museum).

Image courtesy of: Hyper Allergic

Anselm Kiefer, “Margarethe” (1981) oil, acrylic, emulsion, and straw on canvas (The Doris and Donald Fisher Collection at the San Francisco Museum of Modern Art).

Image courtesy of: Hyper Allergic

Posted in: Fine Art

Anish Kapoor- Leviathan, 2011.

Image courtesy of designboom

Space exists only in relation to something, or someone. Position and even direction in art may have some currency in previous ages when art had its strictly defined purpose of representing the living or metaphysical world. However, even the metaphysical one relied heavily on our perception and imagination, and was made similar to the palpable reality. As artistic styles developed and avant garde movements became mainstay, space started to dissolve and forms that filled artworks were defined along a much simpler differentiation between positive (space occupied by form) and negative space.

Examining space in art must always take into account the complex social and cultural standings of a given time, thus influencing the way space is experienced. To follow are a few examples to stimulate further thinking about spatial relations in art.

Inside view of Anish Kapoor’s Leviathan, 2011.

Image courtesy of designboom

Chiharu Shiota’s The Key in the Hand installation was achieved through the use of red yarn, keys and boats, and said to create a melancholic atmosphere of loss, but also of opportunity and hope.

Chiharu Shiota, The Key in Hand from The Venice Biennale, 2015 in the Japanese Pavilion, Giardini.

Image courtesy of Le Paradox

Henrique Oliveira, Tapumes, 2009, Rice Gallery, Houston. Plywood and pigment. Photo: Nash Baker.

Image courtesy of the artist via Feather of Me

Anselm Kiefer at The Margulies Collection at The Warehouse, Miami, Florida.

Here is Kiefer’s critically acclaimed seventeen foot high Die Erdzeitalter (Ages of the World)(2014). The sculpture, consisting of a pile of unfinished canvases, dried sunflowers, lead books and rubble and flanked by two paintings, previously formed the centrepiece of the artist’s retrospective at the Royal Academy of Arts in London.

We have experienced this piece twice at Marguilies, when it opened in 2015 and again in 2016 around Art Basel Miami. The experience of this piece and large installations coming off of walls and filling rooms here is memorable and moving.

Image courtesy of White Cube

Posted in: Fine Art
Tagged: YAYOI KUSAMA ANISH KAPOOR Anselm Kiefer Chiharu Shiota Henrique Oliveira

We visited the Margulies collection and his Anselm Kiefer exhibition this year on a rainy December day in Miami. The mood was just right, and each piece was specifically housed in a space to experience the work singularly. This was perfect for the Kiefers, as his installations often demand monumental space - white, but gritty, his materiality was in a fantastic context to experience it.

Enjoy some of our favorites from his collection, and from the exhibition. It is a must-see!

Joan Miro, Oiseau, 1981 from The Margulies Collection.

Images courtesy of Suzanne Lovell, Inc.

Willem de Kooning, Seated Woman, 1969-81, bronze. The Margulies Collection.

Dan Flavin, Untitled, in Memory of Harold Joachim, 1977. Pink, blue, green and yellow florescent lights, fixtures. The Margulies Collection.

Anselm Kiefer, Sprache der Vogel, 1989. Lead, steel, wood, oil, plaster, resin and acrylic.

The ideology of alchemy is the hastening of time, as in the lead-silver-gold cycle which needed only time in order to transform lead into gold. In the past the alchemist sped up this process with magical means. That was called magic. As an artist I don't do anything differently. I only accelerate the transformation that is already present in things. That is magic as I understand it. - Anselm Kiefer

The title of this three ton sculpture translates to the "Language of the Birds", which according to the 20th century French alchemist Fulcanelli, teaches "the mystery of things and unveils the most hidden of truths".

Anselm Kiefer, Gehimnis der Farne, 2007. Installation of 48 pictures and two concrete sculptures, clay argile, ferms, emulsion and concrete.

The first trees were ferns. They are primal. Charcoal and oil are made out of ferns that existed at the beginning of life. There are many stories about plants having memories. If this is true, ferns could tell us a great deal about our beginnings. Like forests, ferns may contain secret knowledge. - Anselm Kiefer

This installation engages Kiefer's raw and powerful materiality with text in this 2,500 sq. ft room built by the Margulies Collection specifically to house this piece. The charcoal pouring out of one of the structures references the human instinct to hoard fuel. "Carbon, Coal for two thousand more years" is inscribed.

Paul Celan's The Secret of the Ferns (1946):

In the vault of swords the leaf-green heart of the shadows looks at itself. The blades are bright: who would not linger in death before mirrors? Also in jugs here a sadness that's living is drunk to: Flowery it darkens up, before they drink, as though it were not water, as though here it were a daisy of which darker love is demanded, a pillow more black for the couch and heavier hair...

But here there is only dread for the shining of iron; And if anything here still glints up, may it be a sword. Were not mirrors our hosts, never we'd empty the jug from this table: let one of them crack and split where we're green as the leaves.

Anselm Kiefer installation and detail. 

Posted in: Fine Art
Tagged: Miami Martin Margulies Anselm Kiefer Joan Miro Willem de Kooning Art Collection

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