Word: baselitz
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...generally, by the anarchic and utopian Bohemia of the '60s: the Fluxus group and its best-known member, Joseph Beuys, with his shaman's wands and dead hares; Eugen Schonebeck, with his images of mutants and cripples; K.H. Hodicke, who made fervently swiped homages to Max Beckmann; and Georg Baselitz, creator of clumsy, wistful figures stumbling about in an apocalyptic landscape...
Just when Berlin painting got hot with collectors in and out of Germany, its expressive energies were diverted into the task of conserving attitudes and maintaining production. Today neoexpressionism, the obsession of the early '80s, has run its course and is nearly as dead as mutton. (Will Baselitz keep painting people upside-down for another decade? Who cares?) But it left behind a small number of masterpieces, some of which are in this show. Neoexpressionism also left behind a quantity of unresolved questions, such as its degree of aesthetic success and its relation to American abstract expressionism, that are scarcely...
...image stream of German expressionism went underground, but not even Nazism could dry it up. It is the deep, continuous current of German modernism; it picks up different names, en route through the century; and here it is again, manifested in the work of painters like Georg Baselitz, Anselm Kiefer and, above all, its titular river-god, Joseph Beuys...
...Dokoupil; or the blunt, strong images of Eugen Schonebeck, who abruptly gave up painting at the age of 30, in 1966. There is also a powerful group of sculptures by Beuys. But the artists who get the most play are those industrial-scale bores of the international art market, Baselitz, with his upside-down figures, and A.R. Penck, with his dull pseudoprimitive graffiti, along with such earnest but relatively plodding talents as K.H. Hodicke and Markus Lupertz...
...Penck, 43, is a lesser painter and sculptor than Baselitz, but he is a more curious figure. Credit where credit is due: his huge early pictographs like Standard, 1971, have an undeniable, simple power, even a degree of mystery. One realizes where a New York graffiti artist like the fulsomely promoted Keith Haring, 25-the Peter Max of the subways-filched his ideas, a decade later. Penck's paintings consist of stick figures and linear signs, enacting parodies of myth, ritual and archaic language. They draw on a wide range of sources, from algebra to Dipylon vases, from...