new-york

Jörg Immendorff

Mary Boone Gallery | Uptown

In Jörg lmmendorff’s paintings everything is either reified or fetishized. The inanimate comes alive, and the animate turn s to stone, a false idol. So many of his paintings appear to be cartoon so sculpture, because it literally objectifies and is so intimately connected with institutionalized homage; and cartoons, because they involve both caricature and animation. Immendorff’s figures , which include self-caricatures, are manic automatons controlled by forces outside themselves, usually either the church or the state.

In his Versuchung des Heiligen Antonius (Temptation of St. Anthony, 1985), the artist’s compulsion to paint (with oil pigments clearly labeled “bourgeois”) is literally depicted as a monkey at his back: appearing as a dressmaker’s dummy in evening clothes, lmrnendorff turns his back to his mirror reflection , that of a grinning ape, a mimicry of man and representative of

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