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Brus has said of himself that he is no great innovator of the graphic arts. He has worked consistently in the conventional techniques of dry point, lithography and screen printing. The appeal for him was in the various forms of expression that each process brought with it: ‘For me, it’s purely about the artistic intensity of the injury done to the given metal. Perhaps the term “copper murderer” would sometimes be appropriate.’
Brus has worked the metal plate with steel needles, penknives, scissors and wire brushes, practically attacked it. The Actionist injury to the surface and the restless work, to the point of exhaustion, is shown in virtually paradigmatic fashion in the sheets shown in the exhibition. As with his drawings on paper, Brus always operates directly into the plate, without sketches or preliminary drawings. He has remained true to direct art since the early Actions.
Incised and Stabbed is the first complete collection of Günter Brus’ graphic works: from the early works in spirit printing processes for the invitation to the Direct Art Festival (1967), via the stencilling and screen printing of the 1970s, to the large etchings of the 2000s.
Most of the works come from the BRUSEUM collection.
