cologne

Georg Baselitz

Michael Werner | Märkisch Wilmersdorf

This exhibition of Georg Baselitz’s new work attracted much attention, including that of people who had long ago lost all interest in Baselitz. Is it because of the amazing way Baselitz has liberated his painting style? Or is it the desire to make him an exception that exerts such great appeal? These paintings break with his conception of the heroic portrait. thereby enabling the work to acknowledge the presence of the viewer and to leave a space for the personal experience of the paintings. The relationship of the viewer to the work offers the possibility of a physical experience, and departs from the totality, arrogance, and totemic quality of Baselitz’s earlier works. Instead of constituting power, these pictures ask where power begins and where it ends. Instead of issuing orders, these paintings execute decisive gestures. In terms of images, this means bright emblems, a nervous ductus,

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the February 1992 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.