Read more on A.R. Penck
Paintings in the Standart series featured a rudimentary stick figure, a motif that would become central in his work. Blank-faced and stiff-bodied, they were often depicted with crudely drawn male genitals against an abstract background. A stick man dominates the frame of a 1971 painting, for example; daubed in black acrylic it stands against a riotous background of red circular splodges and rectangular markings. A couple of further primitive-style motifs interrupt the expressionist paint handling. An untitled work from 1968 shows a similar figure, stretched to appear almost comically thin. A circle, square, star and other symbols surround the human figure.
For Penck, the stick figure, though a motif that dates back to cave art, represented the first ideogram of a proposed new system of communication that combined text, symbol and image. Standart was a conflation of the English word “standard” and the German Standarte, meaning “banner”. For the artist, these works operated like flags, emblematic of human universality. Penck’s interest in networks, and a prescient desire for the unhindered flow of ideas between individuals, also led to an interest in early computer technology. A 1968 oil painting on board, titled Primitive Computer, proposed a new 45-symbol alphabet for the coming information age.
“Every Standart can be imitated and reproduced and can thus become the property of every individual,” Penck wrote in 1970. “What we have here is a true democratisation of art.” These paintings, and the accompanying sculptures, often made from discarded rubbish (as art supplies were scarce and often restricted in the German Democratic Republic), were smuggled to West Berlin, where they gained an immediate audience.https://artsorigin.com/wp-content/uploads/2019/08/pexels-photo-2385210-e1631793471789-1.jpeg|https://artsorigin.com/wp-content/uploads/2019/08/pexels-photo-5762870-e1631793741133-1.jpeg|https://artsorigin.com/wp-content/uploads/2019/08/pexels-photo-4967193-1.jpeg
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