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Georg Baselitz

Jumping Over My Shadow

September 20–October 29, 2016
West 21st Street, New York

Installation view Artwork © Georg Baselitz 2016. Photo: Rob McKeever

Installation view

Artwork © Georg Baselitz 2016. Photo: Rob McKeever

Installation view Artwork © Georg Baselitz 2016. Photo: Rob McKeever

Installation view

Artwork © Georg Baselitz 2016. Photo: Rob McKeever

Installation view Artwork © Georg Baselitz 2016. Photo: Rob McKeever

Installation view

Artwork © Georg Baselitz 2016. Photo: Rob McKeever

Installation view Artwork © Georg Baselitz 2016. Photo: Rob McKeever

Installation view

Artwork © Georg Baselitz 2016. Photo: Rob McKeever

Installation view Artwork © Georg Baselitz 2016. Photo: Rob McKeever

Installation view

Artwork © Georg Baselitz 2016. Photo: Rob McKeever

Works Exhibited

Georg Baselitz, Untitled, 2015 India ink pen and india ink on paper mounted on canvas, 130 ⅜ × 58 ½ inches (331 × 148.5 cm)© Georg Baselitz 2016. Photo: Jochen Littkemann, Berlin

Georg Baselitz, Untitled, 2015

India ink pen and india ink on paper mounted on canvas, 130 ⅜ × 58 ½ inches (331 × 148.5 cm)
© Georg Baselitz 2016. Photo: Jochen Littkemann, Berlin

Georg Baselitz, Zero Mobil, 2014 Patinated copper, 36 ¼ × 111 ¾ × 31 ½ inches (92 × 284 × 80 cm)© Georg Baselitz 2016. Photo: Jochen Littkemann, Berlin

Georg Baselitz, Zero Mobil, 2014

Patinated copper, 36 ¼ × 111 ¾ × 31 ½ inches (92 × 284 × 80 cm)
© Georg Baselitz 2016. Photo: Jochen Littkemann, Berlin

Georg Baselitz, La rivoluzione di dietro – J.B, 2015 Oil on canvas, 189 × 118 ⅛ inches (480 × 300 cm)© Georg Baselitz 2016. Photo: Jochen Littkemann, Berlin

Georg Baselitz, La rivoluzione di dietro – J.B, 2015

Oil on canvas, 189 × 118 ⅛ inches (480 × 300 cm)
© Georg Baselitz 2016. Photo: Jochen Littkemann, Berlin

Georg Baselitz, Abwärts III, 2016 Oil on canvas, 118 ⅛ × 72 ¾ inches (300 × 184.9 cm)© Georg Baselitz 2016. Photo: Jochen Littkemann, Berlin

Georg Baselitz, Abwärts III, 2016

Oil on canvas, 118 ⅛ × 72 ¾ inches (300 × 184.9 cm)
© Georg Baselitz 2016. Photo: Jochen Littkemann, Berlin

Georg Baselitz, Zweimal Treppe runter (Twice Down the Stairs), 2016 Oil on canvas, 122 × 99 ⅝ inches (310 × 253 cm)© Georg Baselitz 2016. Photo: Jochen Littkemann, Berlin

Georg Baselitz, Zweimal Treppe runter (Twice Down the Stairs), 2016

Oil on canvas, 122 × 99 ⅝ inches (310 × 253 cm)
© Georg Baselitz 2016. Photo: Jochen Littkemann, Berlin

Georg Baselitz, Lieber Marcel Duchamp, das haben sie doch von Picasso gestohlen!, 2016 Oil on canvas, 161 ⅜ × 120 ⅛ inches (410 × 305 cm)© Georg Baselitz 2016. Photo: Jochen Littkemann, Berlin

Georg Baselitz, Lieber Marcel Duchamp, das haben sie doch von Picasso gestohlen!, 2016

Oil on canvas, 161 ⅜ × 120 ⅛ inches (410 × 305 cm)
© Georg Baselitz 2016. Photo: Jochen Littkemann, Berlin

About

This idea of “looking toward the future” is nonsense. I realized that simply going backwards is better. You stand in the rear of the train—looking at the tracks flying back below—or you stand at the stern of a boat and look back—looking back at what’s gone.
—Georg Baselitz

Gagosian is pleased to present Jumping Over My Shadow, an exhibition of new paintings, drawings, and monumental sculptures by Georg Baselitz.

In 1969, seeking to free painting from the constraint of immediate comparison to reality, Baselitz began inverting his subjects. He painted portraits and landscapes upside-down, creating compositions that appear first as abstractions, but slowly resolve as representational works. More than four decades later, he continues to subvert the painted subject—now seeking atmospheric effects that impart to the viewer the sensation of peering through a vaporous void to discover ambiguous bodies within.

Baselitz’s work confronts the very limits of color, material, and composition. This, combined with his compulsive reference to self, produces an ever-expanding body of work in dialogue with precedents, including his own. Throughout his career, Baselitz has unceasingly revisited particular motifs. This consistent subject matter forms an anchor within a turbulent progression of painterly experimentation. Jumping Over My Shadow presents paintings and drawings that focus on the human body yet make that body difficult to approach or perceive. This set of elusive self-portraits includes several unseen works that Baselitz made after the Avignon paintings, which were featured in the 2015 Biennale di Venezia, a series of eight towering vertical canvases, each containing a single visceral figure.

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Installation view, Georg Baselitz: Archinto, Museo di Palazzo Grimani, Venice, May 19, 2021–November 27, 2022. Photo: Matteo De Fina

Georg Baselitz: Archinto

On the occasion of Georg Baselitz: Archinto at Museo di Palazzo Grimani, Venice, Artcore Films produced a short documentary featuring the artist. In the video, Baselitz details the origins of the project, how he approached the unique space, and his experiments in process and technique.

Baselitz: La rétrospective

Baselitz: La rétrospective

Richard Calvocoressi visits Georg Baselitz’s retrospective exhibition at the Centre Pompidou in Paris and reflects on both the historical specificity and timeless themes of the artist’s sixty-year career.

Georg Baselitz working on Madame Demoisielle weit weg von der Küste (Madame Demoiselle a long way from the coast)

Georg Baselitz: Pulling Up the Image

In celebration of five recent projects related to Georg Baselitz, Richard Calvocoressi, Max Hollein, and Katy Siegel speak with the artist and look at his prolific career.

Damien Hirst's Reclining Woman on the cover of Gagosian Quarterly, Fall 2021

Now available
Gagosian Quarterly Fall 2021

The Fall 2021 issue of Gagosian Quarterly is now available, featuring Damien Hirst’s Reclining Woman (2011) on its cover.

Georg Baselitz working on a painting in his studio.

Georg Baselitz: What if...

Richard Calvocoressi narrates a tour of an exhibition of new paintings by Georg Baselitz in San Francisco, describing the visual effect of these luminous compositions and explaining their relationship to earlier works by the artist.

Georg Baselitz and Zeng Fanzhi. Portraits of both artists in black-and-white.

Artist to Artist: Georg Baselitz and Zeng Fanzhi

On the occasion of Georg Baselitz: Years later at Gagosian, Hong Kong, Zeng Fanzhi composed a written foreword for the exhibition’s catalogue and a video message to the German painter. Baselitz wrote a letter of thanks to the Chinese artist for his insightful thoughts.