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PROPERTY from a private european collection DONALD BAECHLER (b. 1956) VIRTUES OF OBESITY initiale...

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PROPERTY from a private european collection DONALD BAECHLER (b. 1956) VIRTUES OF OBESITY initiale...
PROPERTY from a private european collection
DONALD BAECHLER
(b. 1956)
VIRTUES OF OBESITY
initialed and titled
"DB Virtues of Obesity"
on the reverse
acrylic, oil and collage on linen
111 x 111 in. (282 x 282 cm)
executed in 1990
ESTIMATE: $40,000-60,000

PROVENANCE
Tony Shafrazi, New York

EXHIBITED
COLOGNE, Galerie Max Hetzler, DONALD BAECHLER, GÜNTHER FÖRG, GEORG HEROLD, MARTIN KIPPENBERGER, JEFF KOONS, ALBERT OEHLEN, JULIAN SCHNABEL, TERRY WINTERS, CHRISTOPHER WOOL, November-December 1990, pp. 14-15 (illustrated)

LITERATURE
U. Grosenick and B. Riemschneider, eds., ART AT THE TURN OF
THE MILLENIUM, COLOGNE, 1999, p. 47, no. 04 (illustrated)
I think a good artist, in general, is someone who doubts what he's doing and looks for ways of doing it better and looks for ways of making it more interesting. For me, if I know what the painting is going to look like, there's not really any reason to paint it. If I'm not learning something, there's no reason to do it. Or discovering something.... my painting is a series of erasures. A line goes down, usually it is not good, so I paint it over and over again until I get it right. Or an image is wrong, so it gets erased. And there started being this buildup of paint that I didn't like, so I thought an interesting way to erase a line, rather than painting over it, would be to glue something on top of it. And so it was an editing process. I wanted this kind of fresh surface every time I painted. And gradually it would become this kind of fractured surface. Then I started liking what that fracture did to the line, the quality of the line. It's much more interesting to paint over bumps than it is to paint over a smooth canvas. There's this kind of history of the process of the painting that you see because of the editing process, and then also, even when I don't need to change something, I want that surface, that interrupted surface.
Donald Baechler quoted in conversation
with Martin Prinzhorn, VIENNA, November 1996