new-york

Georg Baselitz

Various Venues

Georg Baselitz’ “upside-down” paintings have lately engendered some peculiar critical responses in this country, for different reasons than they have in Germany. Several New York publications have summarily dismissed Baselitz on the grounds of this “conceit” or “gimmick” of his: a glib parallel was made to the art-school cliché of turning paintings upside down “the better to see their form”; one critic admitted to virtually standing on her head in the gallery and came up with the conclusion that the work was “less interesting’ seen from that angle. If the German ”national character“ has typically and historically brought the wrath of the gods down on itself by its compulsive programs of swallowing and actualizing philosophies in the name of pragmatism, then Americans are at least due for a paddling (behind the woodshed, where David Stockman offered to take his) for stubbornly and literally

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