[no title] 1995

Editor: Here we have an untitled print by Georg Baselitz from 1995. The stark black lines on the white paper create a chaotic sort of feeling. How do you interpret this interplay of line and form? Curator: Note the artist's deliberate use of disjunctive lines. The composition defies traditional perspective, challenging our perception. Do you find a coherent structure beneath this seeming chaos? Editor: I see figures, maybe? But they're distorted and upside down. Is that intentional? Curator: Baselitz often inverts his subjects, disrupting conventional representation. Consider how this inversion affects the formal dynamics. The fracturing of form becomes the subject, a study in semiotics, forcing us to reconsider how we perceive reality. Editor: So, it's not just about *what* is depicted, but *how*? I see that now. Curator: Precisely. Baselitz invites us to engage with the materiality of the artwork itself. This deconstruction compels a dialogue between form and content.