Works by Contemporary German Artist Anselm Kiefer on Display at Harvard's Busch-Reisinger Museum June 6 through October 6

Exhibition concentrates on Kiefer's use of photography, complements a show of works from the collections of Eli and Edythe L. Broad at the Museum of Fine Arts, Boston

CAMBRIDGE, MA (May 23, 2002)—Harvard's Busch-Reisinger Museum will present Surface Tension: Works by Anselm Kiefer from the Broad Collections and the Harvard University Art Museums from June 6 through October 6, 2002.

This exhibition of nine photographically based works, primarily from the 1980s, is drawn from the collections of Los Angeles philanthropists Eli and Edythe Broad (pronounced Brode) and the Harvard University Art Museums. The works include early gouaches, lead-and-photographic works, and a large book of photographs reworked with ash and acrylic.

"This is the first exhibition to focus on Kiefer's use of photography. We hope it will encourage visitors to think as much about the materials and processes Kiefer uses as about the iconography of the works," said James Cuno, Elizabeth and John Moors Cabot Director of the Harvard University Art Museums. "We are enormously grateful to our good friends the Broads for generously lending a selection of works that so perfectly complement Harvard's holdings in making this innovative and beautiful exhibition possible."

Raised in the Black Forest region of postwar West Germany, Kiefer (b. 1945) is best known for his monumental mixed-media canvases, which address Germany's fascist past as well as other themes from history, literature, and mythology. He attended the Art Academy in Karlsruhe and later studied informally with the German artist Joseph Beuys in Düsseldorf. His work has been exhibited widely in Europe and the United States.

Photographs as raw material
Kiefer began to use photography in the late 1960s while still a student at the Art Academy in Karlsruhe and continues to use it today. The photographs he produces, however, are not ends in themselves, but raw material, incorporated into virtually every aspect of his work.

"Kiefer has an ambivalence toward photography. He acknowledges being drawn to the photograph's depiction of reality but is at the same time compelled to efface that depiction by forcing his photographs into unlikely combinations with an array of contrasting materials," said Laura Muir, Charles C. Cunningham, Sr., Assistant Curator of the Busch-Reisinger Museum and organizer of the exhibition. "His characteristic layering of themes from literature, history, and mythology is thus accompanied by a conflict between media. This exhibition explores the particular beauty and meanings that emerge from that conflict."

The exhibition begins with an issue of the Cologne art journal Interfunktionen in which Kiefer, in 1975, published a sequence of staged self-portraits titled Occupations, 1969. One of his earliest photographic projects, this confrontation with Nazi symbolism paved the way for much of the work he would produce over the next decades. From these black-and-white reproductions the exhibition moves on to two gouaches—works from the early 1980s in which Kiefer combined his own photographs with applications of acrylic paint and other materials. These include a work from a series dedicated to the Russian futurist poet Velimir Khlebnikov (1885–1922), For Khlebnikov: Little Mailed Fist Germany (1980), based on an enlargement of a 1969 studio self-portrait. The unsettling effects of Kiefer's wildly expressionistic application of gouache over the photographic image accompany a wry commentary on contemporary events.

Kiefer's longtime interest in alchemy and in effecting his own transformations by bringing raw materials (like gouache and photographs) into contact with one another found new expression in the late 1980s, when he began to pair lead with photographs. This combination, which evokes the first miracle of the alchemical process—when dull lead is transformed to brilliant silver—derives its force as much from the similarities between the materials as from their differences. Their variations on the color gray and the sheen of their surfaces produce a kind of metallic harmony, while the conflicting intangibility of the photographs and the physicality of the lead produce a kind of tension. The group of five lead-and-photographic pieces presented in this exhibition (all from the Broad collections and weighing approximately 300 lbs. apiece) will include Euphrates and Tigris (1986–89) and On the Rhine (1968–91). For the latter work, Kiefer mounted two photographs (including an enlargement of a 1968 self-portrait) to a sheet of lead. Kiefer also draws on the symbolism of his materials. The romantic evocation of the river that symbolizes the German nation is undercut by the knowledge that lead and water can be a poisonous combination.

Since the late 1960s the handmade book has been an important artistic vehicle for Kiefer and one that has almost always incorporated photographs. The most recent work in the exhibition is the Busch-Reisinger Museum's The Heavenly Palaces: Merkabah (1990), a massive book of photographs reworked with acrylic and ash. The gradual physical transformation of the photographs forms a tangible counterpart to the mystical journey that inspires the narrative structure of the piece.

By presenting a range of Kiefer's work with photographs, the exhibition offers an opportunity to not only examine a less familiar side of this important German artist's work, but also consider it from a new perspective. The exhibition is accompanied by a fully illustrated brochure (free to Museum visitors).

The photographically based works in the exhibition will be supplemented by Kiefer's early oil on canvas diptych Head in the Forest, Head in the Clouds, 1971 (lent by the Broad Art Foundation), which will be on view in the adjacent gallery.

This exhibition and the accompanying publication are made possible by the Hildegard von Gontard Bequest to the American Friends of the Busch-Reisinger Museum Fund.

Exhibition complements MFA, Boston Show
The exhibition will complement Jasper Johns to Jeff Koons: Four Decades of Art from the Broad Collections, which opens at the Museum of Fine Arts, Boston, on July 28. The show originated at the Los Angeles County Museum of Art last fall and traveled to the Corcoran Gallery of Art in Washington, D.C., this spring. It features 100 works by 24 leading artists, including Roy Lichtenstein, Andy Warhol, Cy Twombly, Ed Rusha, Robert Rauschenberg, John Baldessari, and Cindy Sherman.

Works by Kiefer in the MFA, Boston, show include his classic monumental canvases Nuremberg, Germany's Spiritual Heroes, and Let 1000 Flowers Bloom.

The Broads
Eli Broad, a Los Angeles philanthropist, and his wife, Edythe, have been collecting art for 30 years. Active in the Democratic Party and Los Angeles civic affairs, the Broads established the California-based Broad Art Foundation to collect and loan works by provocative and important contemporary artists (see www.broadartfoundation.org). The Foundation's holdings include more than 700 objects—painting, sculpture, photography, and installation art—that are regularly lent to museums and university galleries.

Mr. Broad, 68, has been a patron and board member of more than 25 museums and art institutions around the world, including the Harvard University Art Museums, where he serves on the Visiting and Collections committees. He is chairman of SunAmerica, Inc., a financial services company specializing in retirement savings and investment products and services.
Works from the Broad collections were featured in the Harvard University Art Museum's 1996 exhibition The Mediated Object.

About the Harvard University Art Museums
The Harvard University Art Museums are one of the world's leading arts institutions, with the Arthur M. Sackler, Busch-Reisinger, and Fogg art museums, the Straus Center for Conservation, and the U.S. headquarters for the Archaeological Exploration of Sardis, an excavation project in western Turkey.

The Harvard University Art Museums are distinguished by the range and depth of their collections, their groundbreaking exhibitions, and the original research of their staff. As an integral part of the Harvard community, the three art museums serve as a resource for all students, adding a special dimension to their areas of study. The public is welcome to experience the collections and exhibitions as well as to enjoy lectures, symposia, and other programs.

For more than a century, the Harvard University Art Museums have been the nation's premier training ground for museum professionals and scholars and are renowned for their role in the development of the discipline of art history in this country.

Location and Hours
The Fogg Art Museum and the Busch-Reisinger Museum are located at 32 Quincy Street in Cambridge. The Arthur M. Sackler Museum is located next door at 485 Broadway. Each Museum is a short walk from the Harvard Square MBTA station.

Hours are Monday through Saturday, 10 a.m. – 5 p.m., Sunday 1 – 5 p.m.; the Museums are closed on national holidays. Admission is $5; $4 for seniors; $3 for students; and free for those under 18 years of age. The Museums are free to everyone all day on Wednesdays and Saturday mornings, 10 a.m. until noon. The Harvard University Art Museums receive support from the Massachusetts Cultural Council. More detailed information is available at 617-495-9400 or on the Internet at www.artmuseums.harvard.edu.

# # #