I keep toying with the ideas of Anselm Kiefer simply because his artworks have been such a strong influence on what I'm doing right now. Therefore I have decided to compromise a little bit more with Mike's suggestion a month or so ago to remove him. What I have decided to do is to use Anselm Kiefer as an opening artist in order to set the scene of how society can shape the notions of grief and reflect this in the works that Kiefer produced in the 1960s which were charged with affect.
By writing the essay in this way and showing where he found his influences from, through the works of George Baseltz, with whom he shared similar provocative ideas with, I can position more recent paintings by Gerhardt Richter in a better way to link with the more contemporary paintings of Luc Tuyman's and Bracha L. Ettinger.
On the back of those works, together with my understandings of the theories of Martin Heidegger, I have moved the document forward much more to demonstrate the ideas of affect being generated through imagistic notions of grief and loss in a more constructive contemporary synthesis of ideas.
Conclusions;
- I'm a lot more confident that the structure of the document is right for my ideas to be transmitted and communicated.
- I will provide some background information about the German culture and society post World War II, so that it contextualises why Anselm Kiefer, George Basilitz and Gerhardt Richter started to create the artworks in a kind of new expressionism based on the works of Edvard Munch during the late 19th century and early 20th century prior to World War II commencing.
- From this I can then create a logical conclusion based on the previous artists for the work of Luc Tuymans and Bracha L Ettinger which then leads into my own work. There is still a lot to do, but the goal is well within reach now.
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