At the heart of the exhibition, Baselitz’s latest etchings Ohne Hosen in Avignon (2014) depict the artist himself in a nude portrait. Like some of his previous works, this suite is closely linked to the paintings with a similar motif. Furthermore, parts of Baselitz’s series Sing Sang Zero (2011) will be on display in the exhibition, as well as some of his graphics, also printed at our print shop in the early 90s: Zahlenspiel, Dänen Tränen, Klopfkopf und Gartenseite (1991/92).
The graphic techniques play a significant role in Baselitz’s work, and have so for many years. It is an integral part of his practice equal, or perhaps even superior, to his painting. Graphics is a manifestation compared to the ambiguity of drawings and paintings, Baselitz often states, and emphasizes the incomparable value of the preciseness and authenticity, as well as the decisiveness and persistence of intaglio prints and etchings. Furthermore, the aspect of reproduction associated with the graphic medium has never been of any importance to Baselitz. Rather than reproduction he is fascinated by the distinctive clarity and intensiveness, and an additional analysis that the technique itself suggests:
“Graphic art is all about focus and clarity – clarity in the foreground, in the background, and in between. And clarity and precision in the method as an idea.” (George Baselitz)
Through Niels Borch Jensen and Georg Baselitz’s long-term collaboration, starting in 1990, the relationship between artist and printer has become especially significant. The aim of the printer is to find ways of bringing the essential character of the artist’s work into their print projects. This artist-centered approach has been characteristic of Niels Borch Jensen’s print shop ever since its opening in 1979.