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Ger van Elk

Red, Yellow and Blue, 1987

Lacquer and varnish on color photograph on aluminium
19 7/10 × 20 1/2 in
50 × 52 cm
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About the work
Ger van Elk
Dutch, 1941–2014
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Ger van Elk believed that representations of reality in art cannot be trusted, and this theory was the driving force behind his sculptures, installations, films, and painted photographs. He divorced subject matter from representation, making art history and the language of art the subjects of his compositions and constructions. La Pièce (1971), a white wooden block placed atop a red velvet cushion, is a critique of the art world’s megalomania. The block is positioned as an embodiment of modernist purity. Van Elk often included autobiographical elements in his work, as in the case of The Adieu (1974). Framed as an optical illusion, the work features a photograph of the artist waving to his viewers from a country road modeled after 17th-century Dutch landscapes.

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View
View in room
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Save
Save
View
View in room
Share
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About the work
Ger van Elk
Dutch, 1941–2014
Follow

Ger van Elk believed that representations of reality in art cannot be trusted, and this theory was the driving force behind his sculptures, installations, films, and painted photographs. He divorced subject matter from representation, making art history and the language of art the subjects of his compositions and constructions. La Pièce (1971), a white wooden block placed atop a red velvet cushion, is a critique of the art world’s megalomania. The block is positioned as an embodiment of modernist purity. Van Elk often included autobiographical elements in his work, as in the case of The Adieu (1974). Framed as an optical illusion, the work features a photograph of the artist waving to his viewers from a country road modeled after 17th-century Dutch landscapes.

Ger van Elk

Red, Yellow and Blue, 1987

Lacquer and varnish on color photograph on aluminium
19 7/10 × 20 1/2 in
50 × 52 cm
Want to sell a work by this artist? Consign with Artsy.
Other works by Ger van Elk