Baselitz Auswahl (EN) by Haus der Kunst

P r est e l Munich · London · New York

Edited by Ulrich Wilmes With essays by Georg Baselitz, Eric Darragon, Okwui Enwezor, Michael Semff, Katy Siegel, and Ulrich Wilmes

Georg Baselitz Back Then, In Between, and Today

Okwui Enwezor 6

Foreword

Georg Baselitz in Conversation with Okwui Enwezor

Ulrich Wilmes 54

Deep, Dark Time

Katy Siegel 116

Double Positive: Not for Not against Not Nein — Georg Baselitz

Eric Darragon 144

Avanti Passato! Baselitz’s Black Sculptures, Memory, Background Stories

Michael Semff 184

The Dark Side: Reflections on Georg Baselitz’s New Paintings

Georg Baselitz 200

Back Then, In Between, and Today

208

Appendix List of Works Biography

Contents

nwezor Though, I believe all the questions I am going to pose to you have been covered extensively in the large amount of literature your work and

practice as a painter have generated, I want to begin with the most recent projects and exhibitions. You’ve just had — this past winter — an incredible season: Georg Baselitz in London. There were three major exhibitions, all related to your work or to your interests as a collector. There was Germany Divided: Baselitz and His Generation an exhibition of drawings of postwar German artists at the British Museum. The second show at the Royal Academy focused on your collection of mannerist prints in tandem with similar material drawn from the collection of the Albertina Museum in Vienna; and finally, Farewell Bill, a show of new paintings that was your hommage to Willem de Kooning on view at Gagosian Gallery. These different shows received enormous critical coverage, a kind of robust acknowledgment of your stature as a key artist of your generation. Then this autumn there will be a big survey of your paintings, along with recent monumental sculptures at Haus der Kunst that traces your career back fifty years with many recent paintings and sculptures included in the exhibition. So it seems you’re incredibly busy. Right now you seem unstoppable. What makes Georg Baselitz tick?

aselitz It’s a culmination. I am increasingly preoccupied with my past; there are so many exhibitions where I have to realize that my paintings

are already more than fifty years old. To some extent, that’s terrifying, but at the same time, very maddening, since quite a lot has happened in all those years. In England, I’m not very well known, or so I thought. And now it turns

Georg Baselitz in Conversation with Okwui Enwezor

The Great Friends, 1965

Georg Baselitz, Three Dogs Upward, 1968

Georg Baselitz, Divided Hero, 1966

Georg Baselitz in Conversation with Okwui Enwezor

Baselitz I believe that the art, the attitude, isn’t clean. I believe that what

painters that seemed to be right out of German romanticism? In the Heroes and

goes on in the heads of artists is to begin with rather dirty, unclean, that analy

The New Type paintings, were you trying to touch the wound that abstraction

ses doesn’t take place there at all. You react to what you see. And what I saw,

was trying to cover up, in a sense, after the war by referring back to a certain

the main current, was the École de Paris, abstract expressionism from America.

kind of German archetypal figure?

And there, not only were the canvases clean, what you found on them was mar-

Baselitz The catalogue you mention, from the London exhibition, is really

velously clean, without being decorative. And the aim of this art was the demon-

a wonderful example. To begin with, you can see I have absolutely no sense of

stration of a better life without philosophy. The philosophy only referred to what

humor. And when you look more closely, you can see that the contents of these

an artist is capable of. My exemplars, my heroes, were of a completely different

pictures is, in formal terms, the “London School.” By London School, I mean

kind. If we accept that Schoenberg was the most avant-garde musician of the

Bacon, Freud, Auerbach, Kossoff. And until now, no one has noticed that a corre-

nineteen-twenties, then actually, you have to accept that he was also the most

spondence exists between myself and these people. First and foremost, the art-

avant-garde painter of the nineteen-twenties, but no one does, only I do. There

Georg Baselitz, The New Type, 1965

ists themselves haven’t noticed it. I made an offer, I wrote a letter, so to speak,

are many examples of this kind that I could mention, in order to present this con-

but received no reply. And now, I’ve repeated the whole thing again this year

tradiction simply.

with my exhibition at Gagosian. Now, there is some very, very positive criticism,

Enwezor Very interesting, because I think that with the mention of the

astonishingly, but there is nothing further . . . aside from greetings from afar,

heroes, we go back to what could be the formative aspects of your career. Your

Frank Auerbach, for example, doesn’t say: My boy, you’re right! How can he say

first exhibition in London could have been a museum exhibition. It was at the

it? Because I always say that this London School is Berlin’s past. That is some-

Anthony d’Offay Gallery in 1982. It was the paintings from 1966 until 1969, fea-

thing that needs to be analyzed. How was it that after the war, Berlin painting

turing all this imagery that you had introduced into your painting: figures, land-

was perpetuated in London by young people who had emigrated from Germany

scapes, animals, and so on. But you had also introduced a mode of painting — the

as children? That really is, for instance, a genuine historical irruption in the strin-

so-called Fracture Paintings that in fact revealed that it was still possible to be

gency of art history. Now perhaps people say that the English are very conserv-

radical within the space of very traditional mediums, such as painting. Did you

ative by nature anyway, but these artists, they’re not English. If they’re anything,

feel that almost unquestionably embracing abstraction that the artists of your

they’re German. Now I suppose someone will whack me on the head for saying

generation were seeking to protect themselves from exploring the kind of top-

that, but that’s how I see it. These artists didn’t participate in the avant-garde

ics that you were exploring, because you went back looking at almost to the

Robert Rauschenberg, Canyon, 1959

race, they almost hid, stubbornly creating their remarkable pictures. I would

110

111

With Willem, 2009

114

115

Oh, a Shadow, Alas, 2010

s a young man, Georg Baselitz couldn’t be a modern artist; as an older man, he has often been asked whether he and his work are “contempo-

rary.”1 What did and does that mean? During Baselitz’s time in Berlin, the art school hosted twinned touring exhibitions of American art — a Jpossible not to break Pollock? retrospective and The New American Painting group exhibition. Baselitz immediately felt that the paintings on view — by Pollock, and even those by the most “accessible” of the artists, Willem de Kooning — would come to define the modernfor his moment. And while the art itself was expansive, the definition it embodied was quite narrow: “modern” meant large in scale, abstract or broadly symbolic, allover in composition, and above all, American. Baselitz knew that his paintings were not any of these things. And so the young artist gained a “desperate insight”: “I’d lost the ambition or the interest in becoming a modern person. In effect, of becoming contemporary. That was so overwhelming that as a young person one couldn’t just say: ‘I’ll go along with it. I’ll become an American,’ and so on. I told myself: ‘No, it’s over. You don’t stand a chance.’”2 Despite the efforts of his teacher Hann Trier “to make me a modern artist,” modern was something other than what Baselitz did and someone other than who he was.3 Yet the art that Baselitz went on to make throughout the nineteen-sixties, the Heroes and Fracture series, and the inverted subjects of the end of the decade, were all clearly independent, different from what came before — all criteria for the modern. So how is it that Baselitz failed to be modern? It was a commonplace failure of synchronization, an artist’s inability or unwillingness to be in the right place at the right time, to align with factors chosen and

Katy Siegel

Double Positive:

Not for Not against Not Nein — Georg Baselitz

126 127

Oehlen, who with Werner Büttner formed the “League Against Contradictory Behavior” in the late nineteen-seventies, found as much to dislike in the official art of the leftist, conceptual avant-garde of the late nineteen-seventies and eighties as in the capering of the neo-expressionists (playfully reworking the Maoist politics of his own generation he pronounced “the enemy of my enemy is also my enemy”). His nonalignment with received positions allowed Oehlen to see other artists in a particularly clear, nonpartisan way: “The question ‘abstract or not abstract,’ for example, is irrelevant to me. I have a whole series of forerunners in this opinion, for example Georg Baselitz, who turned the motif upside down — a magnificent gesture, considered and courageous.”11 As we move away from the moment in which “the question” seemed real to so many peoGeorg Baselitz, Four Stripes Idyll, 1966

ple, Baselitz’s obviation of categories begins to look less unsynchronized, and certainly not regressive, and more prescient, pointing to a future in which the question and the categories have begun to wobble, one in which, even if critics insist on preserving them as props, they don’t matter to artists. This is how Oehlen presses painting’s autonomy from illusions of political agency, aesthetic categories, and even artistic “projects.” The often riotously funny syntactical conflicts in the art and even the speech of de Kooning, Baselitz, and Oehlen (who share a fondness for logical contradictions and neologisms) don’t serve simply to unnerve the bourgeois art lover, or even the academic critic; rather they undo genuinely absurd social prohibitions. The artists’ paintings and phrase-making are ridiculous or impossible only because we have designated as contradictory categories — a face/not a face — that can perfectly well inhabit the same pictorial world.

Katy Siegel Double Positive

The Flugelhornist Gracie Irlam, 2012

132 133

Right or Left Turn?, 2011

uch like Zero Ende (Zero End; 2014, ill. pp. 178 – 79), Baselitz’s Sing Sang Zero (2011, ill. p. 159) does not possess a base, but unlike the former, it is erected

on two pairs of legs. The sculpture’s balance is not precisely ensured by a pose — since there are no poses for an artist who has always used the human body as a motif of its abstraction — but rather by a posture that suggests stability and, at the same time, engenders a kind of surprise, as the situation seems simultaneously banal and strange. Banal thanks to its consecrated gesture of bourgeois couple dom, and strange due to the fact that such a “natural” form of behavior — but will it seem natural for as long as the sculpture lasts, we may wonder — is expressed in surprising and unexpected conditions. We can, of course, recognize the silhouette of a man and a woman, who are doubtless the artist and his wife, but curiously, we did not quite expect to see them represented like this. At first glance, the bronze’s black patina confers a kind of intensity that the wood’s bareness did not. Since the legs are topped off with high-heeled, androgynous shoes, we are forced to conclude that we are not dealing with a primitive couple. Everything points to an impossible classical nudity, but also a kind of dress in the style of Azzedine Alaïa. The choice of black entails an element of distinction — it is often said that black is appropriate for any occasion — and in the sculpture, as the artist had hoped; this color tends to neutralize any anecdotal details in favor of a simplified form. However, it does not go so far as to obscure the painter’s hat, a solid cap pushed down to his ears, or the famous shoes that give the whole figure a stylish but otherworldly appearance. As a result, the image we perceive is as familiar as it is incongruous; but above all, it seems to have been transformed by hardship. A hardship that was doubtless the test of time, the ordeal of the sculpture, supported by an

Eric Darragon

Avanti Passato!

Baselitz’s Black Sculptures, Memory, Background Stories

178 179

o dream oneself to the other end of the world was a childhood wish. I have dug, drilled, and trenched in the sand pit in order to come out again on the

other side. Then later, years later, to find the past, the eon, the things from people who have been here before us, I have excavated at that same place for urns. Dr. Weissmantel, the history teacher, said that what I had brought to him were Slavic urns, 3,000 years old. The game was not to lift oneself out of any old bad time into a better one. More than anything, curiosity propelled the discovery of what lay hidden in there, behind, and below. A good start for a painter’s life, highly recommended. Listening to the radio waves belongs to this curiosity. Putting one’s ear onto the railway tracks (there weren’t any nearby) or on the telegraph poles, or peering through the ice at the frozen lake, fired the imagination. Since 1942, in front of our house there stood giant electromagnetic listening dishes for the sky. Was something happening up there, airplanes with bombs, perhaps? One can hear various things with one’s ear to the trunk of a tree, in any case, rushing water, like city dwellers hear the flushing system. Eau et gaz à tous les étages. The telephone wires sing far across the land. The red wood ants in their great piled-up castle sniff and rustle. Can you hear the sea in the conch? From where the wind comes was not so interesting, where it went was only further away. But the migrant birds passed through the sky in the formation of an arrow, or a wave, the starlings appeared as a cloud, the lapwings like whirled up leaves. Near Fort Worth I stuck my finger into the ground and oil came bubbling up. Over here, once in a while, a mountain crystal, or a fine ammonite in the creek.

Georg Baselitz

Back Then, In Between, and Today

208 209

The Great Friends, 1965 (pages 14 − 15)

Eagle, 1977 (page 39)

Picture Sixteen, 1993 (page 53)

Jump (Remix), 2007 (page 81)

Die großen Freunde

Adler

Bildsechzehn

Oil on canvas

300 × 250 cm

250 × 300 cm

250 × 200 cm

427 × 288 cm

Private collection

Museum Ludwig, Cologne, Ludwig Donation

The Deutsche Bank Collection at the Städel Museum,

Bayerische Staatsgemäldesammlungen, Pinakothek

Frankfurt am Main

der Moderne, Munich

Porträt Elke I

Eagle, 1977 − 78 (page 41)

Negative Further Left, 2004 (page 54)

Oil on canvas

Synthetic resin on canvas

Adler

Negativ weiter links

300 × 250 cm

162 × 130 cm

Egg tempera on canvas

Oil on canvas

The Würth Collection

Galerie neue Meister, Staatliche Kunstsammlungen

200 × 162 cm

250 × 200 cm

Dresden, on permanent loan from a privatecollection

Bayerische Staatsgemäldesammlungen, Pinakothek

Private collection

Portrait of Elke I, 1969 (page 19)

Finger-Painting — Eagle, 1972 (page 23)

der Moderne, Munich, Stoffel Collection

Cubist Gas Mask I, 2007 (page 85) Kubistische Gasmaske I

Coat (Remix), 2007 (page 87) Mantel (Remix)

Zero, 2004 (page 59)

Oil on canvas

Fingermalerei – Adler

Eagle, 1978 (page 43)

Oil on canvas

256 × 200 cm

Oil on canvas

Adler

250 × 200 cm

Goetz Collection, Munich

250 × 180 cm

Oil and tempera on canvas

Private collection

Bayerische Staatsgemäldesammlungen, Pinakothek der

330 × 250 cm

Moderne, Munich. Wittelsbacher Ausgleichsfonds,

Stedelijk Museum, Amsterdam

Modern Painter (Remix), 2007 (page 89)

Hembel, 2004 (page 63)

Moderner Maler (Remix)

Oil on canvas

Eagle, 1978 (page 45)

224 × 169 cm

300 × 250 cm

Finger-Painting — Wing, 1972 − 73 (page 25)

Adler

Thaddaeus Ropac, Salzburg

Private collection

Fingermalerei – Flügel

Oil and tempera on canvas

Oil on canvas

330 × 250 cm

The Red Flag 65 (Remix), 2007 (page 65)

Director’s Theater — Director’s Painting (page 91)

200 × 130 cm

Staatsgalerie Stuttgart

Die rote Fahne 65 (Remix)

Oil on canvas

300 × 250 cm

Still Life, 1977 (page 47)

300 × 250 cm

Doris and Gabor Rose

Bedroom, 1975 (page 29)

Stilleben

Private collection, Munich

Schlafzimmer

Oil on canvas

250 × 200 cm

The Museum of Modern Art, New York, Gift of Agnes

Private collection

Gund, 1991

Herzog Franz von Bayern Collection

Private collection

Elke Nude, 1976 − 77 (page 33) Akt Elke Oil on canvas 250 × 200 cm Collection Van Abbemuseum, Eindhoven Head — Elke in Profile, 1977 (page 35) Kopf − Elkeprofil Oil on canvas 200 × 162 cm The Joachim and Mona Brauner Family

Sister Animal, 1992 (page 49)

Black (Remix), 2007 (page 95)

Forward Wind (Remix), 2007 (page 69)

Schwarz (Remix)

Vorwärts Wind (Remix)

Oil on canvas

300 × 250 cm

Private collection

Essl Museum, Klosterneuburg / Vienna

The Forgotten Second Congress of the Third Communist

Schwester Tier

Modern Painter (Remix), 2007 (page 73)

International in Moscow in 1920; on the Right of the

Oil on canvas

Moderner Maler (Remix)

Picture Ralf, Next to Him Jörg, 2008 (page 97)

162 × 130 cm

Oil on canvas

Der vergessene 2. Kongress der 3. Kommunistischen

The Würth Collection

300 × 250 cm

Internationale in Moskau 1920; rechts im Bild Ralf,

Stichting Gemeentemuseum Den Haag

daneben Jörg

Picture Thirteen, 1992 (page 50 − 51)

Oil on canvas

Bilddreizehn

Four Stripes Hunter (Remix), 2007 (page 77)

Oil on canvas

Vier Streifen Jäger (Remix)

285 × 457 cm

Oil on canvas

Hall Collection

300 × 250 cm

Nightingale First Time, 2008 (page 99)

Essl Museum, Klosterneuburg / Vienna

Nachtigall erstes mal

300 × 250 cm The Guggenheim Museum Bilbao

Oil on canvas 300 × 250 cm Private collection

List of Works

210 211

Forgotten at Some Point — Sand Pond Dam, 2009

Bird Deep, 2010 (page 119)

Bad Grade, 2012 (page 141)

Louise Fuller, 2013 (frontispiece and page 173)

(page 103)

Oil on canvas

Schlechte Note

Bronze patinated

Irgendwann vergessen – Sandteichdamm

250 × 200 cm

Oil on canvas

351.5 × 135.5 × 113 cm

Oil on canvas

Private collection

290 × 208 cm

Courtesy Galerie Thaddaeus Ropac, Paris / Salzburg

250 × 200 cm Private collection, Vienna

Portrait of Elke, 2010 (page 121)

Private collection

Zero End, 2014 (pages 178 − 79)

Elkeporträt

Elke Negative Blue, 2012 (page 143)

Zero Ende

Bedroom, 2009 (page 105)

Oil on canvas

Elke negativ blau

Bronze patinated

Schlafzimmer

250 × 200 cm

Oil on canvas

94 × 348 × 91.5 cm

Oil on canvas

Private collection

280 × 207 cm

Courtesy Galerie Thaddaeus Ropac, Paris / Salzburg

300 × 250 cm Private collection

The Flugelhornist Gracie Irlam, 2012 (page 127)

Hélène Nguyen-Ban

Dark Age Blackim, 2012 (page 184)

Die Flügelhornistin Gracie Irlam

Va loch so erd munch, 2013 (page 144)

Dunkel age schwarzim

Unforgotten Then, 2009 (page 107)

Oil on canvas

Unvergessen damals

400 × 300 cm

300 × 260 cm

290 × 208 cm

Oil on canvas

Private collection

Courtesy Galerie Thaddaeus Ropac, Paris / Salzburg

Hall Collection

Aarhus Is a Beautiful Country, 2011 (page 129)

Complementary Brownish, 2012 (page 149)

No Man’s Land, 2011 − 13 (pages 188 − 89)

Aarhus ist ein schönes Land

Komplementär bräunlich

Niemandsland

Willem Above, 2009 (page 109)

Oil on canvas

Oberhalb Willem

300 × 390 cm

290 × 208 cm

300 × 450 cm

Oil on canvas

Private collection

Private collection, Switzerland

Courtesy Galerie Thaddaeus Ropac, Paris / Salzburg

Wadi in the Evening, 2012 (pages 124 − 25)

Forward in May, 2012 (page 151)

Op Ton, 2013 (page 193)

Wadi am Abend

Vorwärts im Mai

Da ben ar ufo

With Willem, 2009 (page 111)

Oil on canvas

Bei Willem, 2009

305 × 211 cm

290 × 211 cm

290 × 208 cm

Oil on canvas

Cantate LLP, Paris

Private collection

Collection of Peter Marino

Right or Left Turn?, 2011 (pages 132 − 33)

The Yellow Dress Has Become Blue, 2012 (page 153)

Tyfifethreteennine, 2013 (page 197)

Rechts oder links herum?

Das gelbe Kleid ist blau geworden

Zigfünfundreizehnneun

Two Black Russians, 2010 (page 113)

Oil on canvas

Zwei schwarze Russen

300 × 400 cm

290 × 208 cm

290 × 207 cm

Oil on canvas

Private collection

Private collection, Munich

Karpukhovich Collection, Moscow / London

Not in London, in Manchester, Wadi Halfa, 2011

Sing Sang Zero, 2011 (page 159)

Heast in Fall, 2013 (page 199)

(page 137)

Bronze patinated

Ich esse stenk

Oh, a Shadow, Alas, 2010 (page 115)

In London nicht, in Manchester, Wadi Halfa

332 × 180 × 107.4 cm

Oil on canvas

Oh, ein Schatten, ach

Oil on canvas

Courtesy Galerie Thaddaeus Ropac, Paris / Salzburg

290 × 208 cm

Oil on canvas

300 × 215 cm

250 × 200 cm

Private collection

250 × 205 cm Courtesy Galerie Thaddaeus Ropac, Paris / Salzburg

250 × 200 cm Private collection

250 × 200 cm Goetz Collection, Munich

250 × 200 cm Private collection, France

BDM Group, 2012 (page 163)

Courtesy Galerie Thaddaeus Ropac, Paris / Salzburg

BDM Gruppe

Spark Dot, 2013 (page 200)

Once a Rod Like 1960, also a Stovepipe Like 60, 2011

Bronze patinated

Flunkler Deck

St. Anne United Field, 2010 (page 116)

(pages 138 − 39)

366 × 242 × 149 cm

Oil on canvas

St. Anna vereinigt Feld

War mal Stock wie 1960, auch Ofenrohr wie 60

The George Economou Collection

290 × 207 cm

Oil on canvas

300 × 250 cm

255 × 310 cm

Private collection

Goetz Collection, Munich

Yellow Song, 2013 (page 169)

Collection of Peter Marino

Bronze patinated

Nessdark, 2013 (page 207)

308 × 154 × 92 cm

Heiteldunk

Courtesy Galerie Thaddaeus Ropac, Paris / Salzburg

Oil on canvas 290 × 207 cm Private collection, Franz Scheffer, Germany

List of Works

2013 Werke von 1968 bis 2012 (Works from 1968 to 2012), 75th birthday exhibitionat the Essl Museum, Klosterneuburg near Vienna. ▪ Works on additionalsculptures and on the Black Eagle series and Willemraucht nicht mehr (Farewell Bill). ▪ Hintergrundgeschichten (Background Stories), exhibitionat the Residenzschloss (Royal Palace) of the StaatlicheKunstsammlungen Dresden. ▪ Le récit et la condensation, exhibitionwith Eugène Leroy at the Musée des Beaux-Arts Eugène Leroy in Tourcoing, France. ▪ Besuch bei Ernst Ludwig (A Visit with Ernst Ludwig), an exhibition at the Kirchner Museum Davos. 2014 Produces the large-format self-portraits. ▪ Tierstücke. Nicht von dieser Welt (Animal Pieces: Not of This World) exhibition at the Franz Marc Museum in Kochel am See. ▪ Georg Baselitz — Damals, dazwischen und heute (Georg Baselitz: Back Then, In Between, and Today), exhibition at the Haus der Kunst in Munich. Georg Baselitz lives and works at Ammersee (Bavaria) and Imperia (the Italian Riviera).

Compiled by the Archive Georg Baselitz

This catalogue is published on the occasion of the exhibition

Peter Knaup p. 212; Jochen Littkemann, Berlin pp. 12, 19, 22, 29, 35, 54, 59, 63, 65,

Georg Baselitz: Back Then, In Between, and Today

69, 73, 75, 77, 81, 85, 87, 89, 91, 95, 97, 99, 103, 105, 107, 109, 111, 113, 115, 116, 119,

held at Haus der Kunst in Munich, from September 19, 2014 to February 1, 2015,

121, 124 – 25, 126, 127, 129, 130 top, 131, 132 – 33, 137, 138 – 39, 141, 143, 144, 148, 149,

and at the Powerstation of Art (PSA), Shanghai, from March 20 to June 21, 2015

151, 152, 153, 154, 156 bottom, 159, 161, 163, 165, 166 top, 167, 169, 173, 174, 176 bottom, 178 – 79, 184, 188 – 89, 190, 191, 192 top, 193, 197, 199, 200, 206, 207; Louisiana

We would like to thank our shareholders for their annual support of the program:

Museum of Modern Art, Humlebaek p. 21 top; Thomas Müller pp. 92, 150; Frank

Freistaat Bayern, Josef Schörghuber Stiftung, Gesellschaft der Freunde Haus der

Oleski, Cologne pp. 13, 14 – 15, 17, 25, 27, 41, 43, 45, 49, 51, 53, 74, 79, 122, 146, 147,

Kunst e.V.

157, 160, 166 bottom, 171, 177, 181, 183, 204; Friedrich Rosenstiel, Cologne pp. 18, 20

The exhibition was supported by Galerie Thaddaeus Ropac, Paris / Salzburg,

top, 60; Van Abbemuseum, Eindhoven p. 33; David Zwirner, New York / London p. 16 GagosianGallery, New York / London, and White Cube, London Prestel Verlag, Munich Stiftung Haus der Kunst München, gemeinnützige Betriebsgesellschaft mbH

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Publication Data: a catalogue record for this book is available from the British Library; Deutsche Nationalbibliothek holds a record of this publication in the

Curator of the exhibition and editor of the catalogue: Ulrich Wilmes

DeutscheNationalbibliografie; detailed bibliographical data can be found under: http://www.dnb.de

Authors: Georg Baselitz, Eric Darragon, Okwui Enwezor, Michael Semff, Katy Siegel, and Ulrich Wilmes

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Translations: German–English: Ian Pepper; French–English: Sarah-Louise Raillard;

Christian Katti: “Georg Baselitz: Back Then, In Between, and Today”

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Jackson Pollock © Pollock-Krasner Foundation / VG Bild-Kunst, Bonn 2014; Robert Rauschenberg © Robert Rauschenberg Foundation / VG Bild-Kunst, Bonn 2014; Pierre Soulages © VG Bild-Kunst, Bonn 2014 Cover: Georg Baselitz, Portrait of Elke, (Detail), 2010, see page 121 Photo credits: Kunstmuseum Basel p. 123 top; Archive Georg Baselitz, pp. 20 bottom, 47; Elke Baselitz pp. 10, 139; Bayerische Staatsgemäldesammlungen, Munich

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