[no title] Possibly 1946 - 1983

Curator: This intriguing print comes to us from Professor Karl-Otto Götz, dating back to 1983, part of the Tate collection. The dimensions are intimate, only 215 by 300 millimeters. Editor: It’s immediately striking. The stark contrast, the crude, almost primitive shapes—there's a raw energy here. What was Götz after? Curator: Götz was central in the Informel movement, rejecting geometric abstraction for spontaneous expression. After the war, artists like Götz wanted to break free from the constraints of academic training. Editor: Indeed. This appears to be a very direct application of ink onto the support. I'm fascinated by how the artist used the printing process, seemingly without much refinement. It draws attention to the labor, doesn’t it? Curator: Absolutely. The lack of formal composition aligns with Informel's broader rejection of pre-war artistic values and the desire to forge a new visual language for a changed world. Editor: I see what you mean. It's almost anti-aesthetic, focusing instead on the pure act of creation. Curator: A compelling piece that speaks to a critical moment in art history. Editor: Precisely, the making and the unmaking of modernism, all on one little page.