id:			161337
accession number:	1999.96
share license status:	Copyrighted
url:			https://clevelandart.org/art/1999.96
updated:		2023-03-15 15:46:38.461000

Girlfriends I, 1967. Sigmar Polke (German, 1941–2010), edition h. Offset photolithograph; sheet: 47.9 x 60.8 cm (18 7/8 x 23 15/16 in.); image: 46 x 59 cm (18 1/8 x 23 1/4 in.). The Cleveland Museum of Art, John L. Severance Fund 1999.96 © Artists Right Society (ARS), New York

title:				Girlfriends I
title in original language:	
series:				
series in original language:	
creation date:			1967
creation date earliest:		1967
creation date latest:		1967
current location:		230 Photography
creditline:			John L. Severance Fund
copyright:			© Artists Right Society (ARS), New York

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culture:	Germany, 20th century
technique:	offset photolithograph
department:	Prints
collection:	PR - Lithograph
type:		Print
find spot:	
catalogue raisonne: Becker & von der Ostern 3

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CREATORS

* Sigmar Polke (German, 1941–2010)  - artist

* edition h  - published by

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measurements: Sheet: 47.9 x 60.8 cm (18 7/8 x 23 15/16 in.); Image: 46 x 59 cm (18 1/8 x 23 1/4 in.)
state of the work:	
edition of the work: 	150

support materials:


inscriptions:

	inscription:	numbered, lower left 28/150; signed and S. Polke 67, in graphite below the image
	translation:	
	remark:		

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CURRENT EXHIBITIONS

	title:		From Rembrandt to Rauschenberg:  Recently Acquired Prints
	opening date:   2000-09-17T00:00:00
	<i>From Rembrandt to Rauschenberg:  Recently Acquired Prints</i>. The Cleveland Museum of Art (organizer) (September 17-November 26, 2000).

	title:		Photographs in Ink
	opening date:   2022-11-20T05:00:00
	<i>Photographs in Ink</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 20, 2022-April 2, 2023).

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LEGACY EXHIBITIONS

* Cleveland, Ohio:  The Cleveland Museum of Art; September 17 - November 26, 2000.  "From Rembrandt to Rauschenberg:  Recently Acquired Prints."

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PROVENANCE

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fun fact:


digital description:


wall description:
In <em>Girlfriends I, </em>Sigmar Polke enlarged an image from popular culture to the point where the halftone pattern is not only visible but competes with the bold women for our attention. In addition to conveying the tones of the photographic image, the halftone here became a symbol of mass media and consumer culture itself. The pattern’s primary job is to trick our eyes into seeing a photographic image with a full range of grays, not a busy field of black dots. But for the artist and many others working in the 1960s, the halftone took on a more layered meaning.
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RELATED WORKS

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CITATIONS

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IMAGES