After viewing Georg Baselitz’s Auftritt am Sandtreich II – bei (Remix), and Cindy Sherman’s Untitled #224, one can see two very different artists trying to convey a topic that is relatable on many levels. George Baselitz is a German Neo-Expressionist, while Cindy Sherman created work in the American, Metro Pictures genre yet both have chosen to “remix” the past into new and somewhat inherent images of the day. One can relate to these images on the basis of recognition, and interpretation of the cultural meanings of the time. Both artists have chosen to give the audience snapshots of their past, Sherman with the 1950’s women’s rights movement, and Baselitz portrayal of a post-World War II Germany. The images selected are form a more modern era, Baselitz-2006 than Sherman-1990, and it is interesting to see the changes from the work of the 1980s. Baselitz became famous for turning his paintings upside-down to shift the viewer's focus away from the subject matter to the expressive surface. In his later work, though, the inverted subject matter indeed seems to be the focus, deliberately so in order to effectively portray the image after years of contemplation and healing. Sherman's later work is similar in stance, but is a colored photographic interpretation of Caravaggio’s Sick Bacchus portrait. One can make the comparison that both artists have overcome adversity, and their imagery conveys a message of hope and promise stemming from difficulty.
Georg Baselitz, Auftritt am Sandtreich II – bei + 30 C (Remix), 2006 Oil on canvas http://www.ecopolis.org/georg-baselitz-remix-paintings/
Georg Baselitz grew up in Germany during WWII, a time of unrest and ever changing cultural norms. This makes sense, as Baselitz himself moved from East to West Germany as a youth living in Germany through the reunification of the Nineties. In Auftritt am Sandtreich II – bei (Remix), Baselitz has revisited the most challenging aspects of his own history, with hindsight, and...
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