Greene Naftali presents two new groups of paintings and works on paper by Monika Baer
Monika Baer, Installation view, loose change, Greene Naftali, New York, 2021. Courtesy the artist and Greene Naftali, New York.
NEW YORK, NY
.- Monika Baer has spent three decades inventing forms to convey the inner workings of her chosen medium, bringing paintings disparate visual traditions into productive conflict. Her second solo exhibition at Greene Naftali features two new groups of paintings and works on paper, alternating between styles and techniquesoften within a single work. Trompe loeil matchsticks, illusionistic tree bark, mineral deposits and scattered coins: her combination of these rendered and actual elements lays competing claims to painterly realism, yielding what she calls a clash of logics, through which the medium itself is activated and performed.
Karen Archey on the art of Evelyn Taocheng Wang
Evelyn Taocheng Wang,
So You Were Also There, 2019, ink and mineral color on raw rice paper, 18 7⁄8 × 37 3⁄4 .
THERE IS NO ONE THING that we could call the “immigrant experience,” but certainly everyone who has immigrated is familiar with how mundane misunderstandings can reveal cultural tectonics, of how humor can sometimes be mobilized to leaven pain. What’s the correct time of day to introduce yourself to a new neighbor? How earnestly should you respond to the question “How are you?” Will you come off as suspicious to the neighbors if your curtains remain drawn? The answers to these questions might seem relative or merely dependent on personal proclivity, yet one’s approach to these everyday situations constitutes, in part, the je ne sais quoi of national belonging. And while learning a new culture can be refined into a science, other qualities will still mark us as
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What Five Years of the Berlin Program for Artists Taught Us
The co-founders Simon Denny, Willem de Rooij and programme alumni explain why artists are essential to the fabric of Berlin
Carina Bukuts: What was your main aim in founding the Berlin Program for Artists (BPA) in 2016?
Willem de Rooij: Simon [Denny], Angela [Bulloch] and I all teach at art schools in Germany, where we work closely with our students and often remain in touch with them long after they’ve graduated. Unlike law or medicine, where you learn essential skills on your first job, artists often find themselves working alone in their studio after finishing their studies. While there are successful programmes for postgraduates abroad, such as the Independent Study Program at the Whitney Museum, we couldn’t identify an institution in Berlin dedicated to supporting emerging artists at the moment in their careers when they need that extra level of connectivity.