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.
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.
In these new works, with the intentionally obscured use of color, Baselitz conveys the sense of these bodies through the materiality of paint. In Abgang mit Marcel (Leaving with Marcel) (2016), drips of paint create a tangled vascular system for a ghostly, even weightless, figure. Its milky-white, partly translucent body oozes down the canvas, the head already beyond the edge. As suggested by its title, the work refers to Marcel Duchamp’s Nude Descending a Staircase (1912), but instead of following a prismatic Cubist descent, Baselitz’s nude simply vanishes. Its feet float, failing to touch the staircase formed by a thin white line.
While Baselitz’s paintings become ever more cryptic and abstruse, Jumping Over My Shadow places them with sculptures that strive for directness and legibility. Unlike the paintings and drawings, which seem to melt away, the sculptures are anchored in an obdurate materiality. The weight and solidity of bronze disguises itself in the dense matte black of charred wood: the resulting forms—skulls, legs like pieces of lumber in high heels, and a dancer—claim mythical origins in their elemental simplicity.
Gagosian Quarterly Summer 2019
The Summer 2019 issue of Gagosian Quarterly is now available, featuring a detail from Afrylic by Ellen Gallagher on its cover.
Visions of the Self: Jenny Saville on Rembrandt
Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.
Georg Baselitz speaks with Sir Norman Rosenthal on the subject of his latest work. The two discuss these paintings, all depictions of self-portraits by artists from the past and present, and what it means to pay homage.
Morgan Falconer visits the artist’s studio outside Munich to learn more about his newest paintings, a series entitled Devotion.
Gagosian Quarterly Spring 2019
The Spring 2019 issue of Gagosian Quarterly is now available, featuring Red Pot with Lute Player #2 by Jonas Wood on its cover.
Extended through March 23, 2019
January 24–March 23, 2019
West 24th Street, New York
Recent Works on Paper
February 8–March 24, 2017
Visit from Hokusai
January 21–March 18, 2016
Visit from Hokusai
November 7–December 19, 2015
980 Madison Avenue, New York