P A I N T I N G T O D A Y frequently seems lost in

convention. Even the once heroic, liberating

gestures of expressive or geometric abstrac­

tion are now ritualized repetitions. These

conventions are not, however, merely stereo­

typed formulas; they also form a sphere of

mythological, political, individual, and social

expectations and experiences. Far from being

limited to the literal meaning of the surface

and the material, painting—precisely in its

conventionality—offers a highly referential

symbolic form in which discourse and prac­

tice merge. Monika Baer's work, by oscillat­

ing between literal and referential meaning,

investigates this intersection, negotiating

the possibilities of painting as a complex

artistic language.

Untitled (2005) places us before a vast expansí

of space populated with green-brown washes

and stains. O n the far right, finely rendered

objects (coins, bills, and sliced charcuterie)

seem to fall through the murky atmosphere.

The juxtaposition of painterly abstraction

with nearly trompe l'oeil treatments is

jarring. Discordant styles and seeming non

sequiturs define much of Baer's work, in

which a picture's primary subject is painting

itself. The artist rejects soley or uniquely

narrative readings of her paintings in favor of

"engagement with the complex occurrence

on the canvas."1

The objects in Untitled recur in a variety of

other forms in Baer's paintings. The rect­

angles of the bills show up elsewhere as road

markings, playing cards, bricks, and blocks

of color. The circles of the coins and meat

slices reappear as breasts, eyes, holes, and

heads. As common, in some cases charged,

motifs, they abound in associations. But Baer

privileges the painted forms over that which

they reference. Not "things" per se, they are

shapes floating, falling, and flying in regions

of painted space. What they do is serve as

agents in the picture. What they mean, they

mean for each of us alone.

Untitled (Parkhausl 199

Baer studied painting at the renowned

Kunstakademie Dusseldorf from 1985 to 1992,

when the school witnessed the ascendence

of photography, following on the heels of

the Conceptualism of the 1970s. Painting's

staunchest defenders at the academy during

this period were the male Neo-Expressionists

of the previous generation. The artist's early

M O N I K A B A E R

I huiüeiL 200s

work evidences rhe tension generated by

her compulsion to paint while refusing to

embrace the existing models of what painting

should be. Describing her response to what

she perceived as the impossibility of making

a painting, Baer employed the language of

theater and film: "I approached the picture

as a site of staging or performance and as the

object of staging itself." :

Untitled (Parkhaus) (1990)—created during

Baer's student years—is just such a site of

staging. The picture consists of a ground that

recedes into deep space but is punctuated by

loosely painted rectangles that appear to sit

on the painting's surface and form a kind ot

architecture suggestive of an underground

parking garage. We know these colored geo­

metric forms from Constructivism and Plasti-

cism, where they typically appear against

monochromatic backgrounds. But in Baer's

painting, the pictorial space appears perspec-

tivally rich and personally expressive in just

the way that such prior schools of abstrac­

tion sought to defeat. In the center of the

picture, at what would be the vanishing point

if it were a traditionally ordered painting, a

white rectangle obstructs the horizon. O n it

appears a finely rendered depiction of a man's

nose and slightly smirking mouth; the face .

is abruptly severed by a stark black expanse

reminiscent of a roof beam, a curtain about

to drop, or a censor bar. Thus began Baer's

propensity for mixing things whose combina­

tion is forbidden by conventional art histori­

cal narratives of the succession of styles, and

for moving restlessly among disparate motifs,

thereby raising aesthetic themes deemed off-

limits in contemporary art.

Shortly after leaving the academy, Baer

received recognition for a group of works

known as the Mozart paintings, which depict

a puppet play in a marionette theatet based on

the National Marionette Theater in Salzburg.

Her interest in the canvas as a form of stage is

hete made literal. Each work features the edge

of the stage rendered in trompe l'oeil, with the

petformance unfolding above. Highlv stylized,

brighrly colored, and rendered in elaborate

rococo detail, these paintings act as a foil for

Baer's more abstract subsequent work. Yet the

dramatic interplay of abstraction and figura­

tion that characterizes the later paintings is

already in evidence, as the stage's elaborate

decor dissolves into explosions of color washes

and hard-edged pattern.

Baer next created a series of white paintings,

including Untitled (man with hole) (1998),

which depicts a disembodied, ruddy-faced,

bulgy-eyed, bulbous-nosed head reminiscent

of the classic Sàufergesicht (drunkard's face)

of seventeenth-century genre painting, but

is actually based on a still from Erich von

Stroheim's 1924 movie Greed. Just to the right

of the unkempt hair, Baer has cut a rough

hole through the stark white canvas, reveal­

ing a segment of the stretcher bar. Head and

hole togethet teptesent—both historically and

manually—the painting and its construction

and are bound together in a narrative moment.

Untitled (man with hole) directly relates to

two later series, the bteast paintings (2008-

09) and the monochromes (2009-10), which

also feature manipulations of the canvas

support. Each breast painting consists of two

sections of canvas, stained to resemble light-

wash denim, and stitched together with a

double seam running vertically, out of which

prottude one or more stylized breast forms

with drips and squirts. The cartoonlike,

almost phallic, quality of these forms distance

Untitled 1 man with hole), 1 9 9 8

monochrome, 2 0 0 9

them from essentialist readings of the motif.

As Juliane Rebentisch has argued, "Breasts are

not Baer's subjects; het interest is in the reser­

voir of images of breasts."' Indeed, Baer em­

ploys a mash-up of references and styles here,

juxtaposing early Christian renderings or the

Mother and Chi ld , the trope of machismo's

bursting jeans. Surrealist and Pop treatments

of the body, and painterly abstraction.

The monochromes each consist of a series of

holes painstakingly cut out of the canvas to

represent a spiderweb form, monochrome

(2009) is bubblegum pink and has an actual

cigarette placed on the upper left edge of its

frame, monochrome (2010) is black, save for an

oversize depiction of a playing card. Neither

painting is a monochrome in the Minimal ­

ist sense of their title: glimpses of stretcher

bar, hanging hardware, and wall are visible

through the cutout web forms; and the

cigarette, playing card, and web rhemselves

are vehemently figurative interlopers on this

supposedly reductive surface.

Rear Painting (2012) picks up where the

monochromes leave off, comprising thick,

sheeny layers of black acrylic mimicking

impasto oil paint. Three keyholes, painred

whire, pastel pink, and baby blue, con­

trast with this unctuous black ground. The •

work depends on the idea of the unsullied

Minimalist surface, but only after it has been

tainted by the use of the wrong color, the

insinuation of symbolism, and the sheer pres­

ence of representation.

There are no such openings in rhe red wall

paintings (2010-12). In each a course of finelv

rendered masonry runs down rhe right third

of the picture. The resr of the painting is

occupied by a dense field of red, identified as

a wall onlv by the work's title. White smears,

scumbles, blank playing-card forms, or graffiti-

like elements move through the field; they

sit on top of and emerge from behind the

wall. Ulusionistically rendered chains swing

in front of (or through?) the red expanse,

making rhe nature of its space ambiguous.

The red field can be an abstract plane or a

representation of deep space. The phrase

"banging ones head against a wall"—or wast­

ing time on a hopeless task—comes readily to

mind. The image is apt for the effort to parse

Baer's constructions using a simple language

of representation or abstraction. This is an art

of both/and.

ledge (2013), one of Baer's most recent works,

is the first in a series of paintings with alcohol

bottle motifs. Again, various modes operate

in the pictorial space simultaneouslv: a

painterly wash, a drawing of the profile of a

passed-out drunk, several sketchy outlines of

bottle forms, and a trompe l'oeil depiction

of five liquor bottles. A l l of these elements

sit on a field of pastel pink, green, and blue

oil paint. Wi th their varying degrees (and

implied types) of emptiness, the bottles create

their own space on an otherwise flat surface.

In a small alcohol painting, 3 bad habits ($a)

(2013), the cigarette of monochrome (2009)

reappears as a finely rendered spent butt,

accompanied by an actual miniature liquor

bottle. A billowy, abstract painted form at

once links the cigarette to the booze and

suggests that the third bad habit is, perhaps,

indulging in painterliness.

When a medium is as loaded with mythol­

ogy, politics, and expectations as painting,

it can be hard to pursue it without being

expected to also "sav something about paint­

ing." Baer welcomes this difficulty and insists

rote Wand (4). 2012

î bad híibiti (ia). 20lt

that it is not necessary to say anything in

particular; in her work, significant statement

exists apart from concrete meaning. We roam

with the artist through an incurably eccen­

tric archive. Her painring revels in derail but

tells no story. 1rs subject matter is at once

intensely common and commonly intense—

puppets, brick walls, body parts, playing

cards—and always evoking afflictions and

desires. As painted objects, these motifs pique

our interest, but the works they appear in do

not present an obvious agenda.

Rather. Baer's paintings embody the visceral

pleasure and pain or their own making. In

their performance of urgency and "declass-

ing," her statements on the power and poli­

tics ot desire are made.4 The kind of satisfying

closure that essays like this move toward,

Baer's art precludes, so full is it of historical,

stylistic, and physical openings. It is in these

very gaps—rooted in rhe emphatic focus and

opacity of her project, and its defiant insis­

tence on and resistance to convention—

that we discover Monika Baer's sublime.

LISA DORIN

GUEST CURATOR

N O T E S 1. Paula van den Boseh. "Interview with Monika Baer," in

Monika Baer: Paintings and Works on Paper. 1002-20

(Bonnetantenmuseum. Maastricht/Walther Konig, 200s). p. 86.

2. Ibid., p. - 4 .

I. Juliane Rebentisch. '"The Spider ot Painting' and Other Short

Stories on Monika Baer," in Monika Baer. ed. Galerie Barbara

Weiss and Richard Telles Fine Art (Walther Konig, 2011), p. 15s.

4. Ibid., p. 1S4- "Rather than negating torm Hat out, [Baet]—

to put it with Georges Did] Hubermans paraphrase of [Georges]

Bataille—'dialecticallv negates" it, 'déclasses' it. strips it of its age

old ontologieal privilege.'"

M O N I K A B A E R

Born Freiburg, Germany, 1964

Lives and works in Berlin

Studied at the Kunstakademie

Dusseldorf, 1985-92; Paris Stipend,

Kunstakademie Master Student,

1992; Peter Mertes Stipend, 1998

S O L O E X H I B I T I O N S

2012

Return of the Rear, Galerie

Barbara Weiss, Berl in

2011

murals and muse, Richard

Telles Fine Ar t , Los Angeles

2009

Monika Baer, Die Reliknon,

Golden Pudel C l u b , Hamburg

o-to-i, Galerie Barbara Weiss,

Berl in

in Ketten, Galerie Eva Presen-

huber, Z u r i c h

2008

Monika Baer, Richard Telles

Fine Ar t , Los Angeles

2007

Monika Baer {with Thomas

Bavrle), Galerie Barbara

Weiss, Berl in

2006

Monika Baer, Ausstellungs-

halle für zeitgenóssische

Kunst, Mi ins te r

Monika Baer: Paintings and

Works on Paper, ¡992-200$,

Pinakothek der Moderne,

M u n i c h

Monika Baer, Richard Telles

Fine Ar t , Los Angeles

2005

Monika Baer: Paintings and

Works on Paper. ¡992-200$,

Bonnetantenmuseum,

Maastricht

2003

Jager, Galerie Barbara Weiss,

Berl in

Hotel My Room (with Sigune

Sièvi), Ber l in

2002

Monika Baer, Galerie Barbara

Weiss, Berl in

1997

1998

Bonner Kunsrverein, Bonn

Damenwahl (with Paul M c ­

Carthy) , Portikus, Frankfurt

Monika Baer, La Casa d'Arte,

M i l a n

Monika Baer, Kunsthalle

St. Gal len

Monika Baer, Galerie Luis

Campaña, Cologne

Monika Baer, Galerie Luis

Campaña, Cologne

S E L E C T E D G R O U P E X H I B I T I O N S

2013

Monika Baer, Galerie Luis

Campaña, Cologne

Peter Mertes Stipendium

(with Johannes Wohnseitter),

Das nette Fleisch, after the

butcher, Berlin

Pan und Plan: Monika Baer

und Jochen Klein, Galerie der

Stadt Schvvaz, T i r o l

Ihre Geschichte(n), Bonner

Kunsrverein, Bonn

Chat Jet: Malerei <jenseits>

ihres Mediums, Kunstlerhaus,

Halle für Kunst & Medien ,

Graz

Paperwork: A Brief History of

Artists' Scrapbooks, Andrew

Roth, N e w York

Alternative Entrance, Kunst­

bunker—Forum für zeitge­

nóssische Kunst, Nürnberg

Teil 2 Family Theater, Kienzle

Ar t Foundat ion, Brandenbur-

gischer Kunsrverein, Potsdam

The Happy Fainting of Paint­

ing: Zwischen Bild und Buch:

Materialsammlung Malerei

heute, Zwinger Galerie, Berl in

Monika Baer, Kim Gordon,

Nick Mauss, Mathew Gallery,

Berl in

Cross-Check, Petra R i nek

Galerie, Dusseldorf

Monika Baer, Stephan Dille-

muth, Cordula Güdemann,

Jiirgen Kisch, Gunter Reski,

Dierk Schmidt, Marcus Weber,

Galerie Traversée, M u n i c h

Dorothea, Ancient &

M o d e r n , London

Hysteria, Laughter and a

Certain Sense of Seriousness,

2009

2008

2007

2006

Galerie Gregor Staiger,

Zur i ch ; Karma International,

Zu r i ch

Augusts Lien, Ar tc lub W i e n ,

Hotel Intercontinental, Vienna

Das Potosí-Prinzip, Museo

Nacional de Etnografía y

Folclore, La Paz

Yes or Yes, Yes or Yes 2, Galerie

Nice and Fit, Berlin

SENT BY MAIL Galerie

Barbara Weiss, Berlin

Das Potosi-Prinzip, Museo

Nacional Cent ro de Arte

Reina Sofía, M a d r i d ; Haus

der Kulturen der Welt, Berlin

Paradise Lost—Holidays

in Hell Cent ro Cul tura l

Andratx, Mal lo rca

Harte Gefuehle, Silver Shed,

N e w York

Inside the Tree/The Tree Inside,

Kuns tbunker—Forum für

zeitgenóssische Kunst,

Nuremberg

Cave Painting, Gresham's

Ghost , N e w York

Dos Gespinst—Die Sammlung

Schiirmann zu Besuch im

Museum Abteiberg,

M ó nch en glad bac h

Conflicting Tales: Subjectivity

(Quadrilogy, Part 1), Burger

Col lec t ion , Berlin

Dank an. Galerie Isabella

Czarnowska, Berlin

Round Up, Richard Telles

Fine Ar t , Los Angeles

Cave Painting, P S M Gallen,',

Berl in

Ventriloquist, T i m o t h y Taylor

Gallery, London

Form und Grund, Galerie

Belvedere. Augarten

Contemporary, Vienna

Shandyismus: Autorschafi als

Genre, Kunsthaus Dres­

den, Stàdtische Galerie für

Gegenwartskunst, Dresden;

Secession, V ienna

documenta 12, Kassel

Next to kin. Galerie Daniel

Buchholz, Cologne

1995

1993

2010

2012

2on

Beaufort 2006, Kust Brengt

Kunst, Beaufort

The Swan Is Very Peaceful

Richard Telles Fine Ar t ,

Los Angeles

2005

Tauchfahrten: Zeichnung als

Reportage, Kunsthalle

Dusseldorf

FlashBack, Kunsrverein

Freiburg

2004

Tauchfahrten: Zeichnung als

Reportage, Kunsrverein

Hannover

Art and the Afterall Effect,

Play Space Gallery, Cal i fornia

College o f the Arts , San

Francisco

Monika Baer, Sigune Sievi, D]

Mo, Glue, Kunst und Mus ik ,

Berlin

2003

deutschemalereizweitausend-

drei, Frankfurter Kunsrverein,

Frankfurt

Falling Angels, Greene Naftali

Gallery, N e w York

2001

Botschaft, Botschaft, Dusseldorf

2000

Malerei VI, Gaierie M o n i k a

Spri i th, Cologne

1999

Snowflake Office, Greene

Naftali Gallery, N e w York;

Galerie Ursula Walbrol ,

Dusseldorf

Schnellel Polsche noch schnell-

ele Fellali, Galerie Kerstin

Engho lm, Vienna

New Painting from Germany,

Dei tch Projects, N e w York

1997

A Hell of a Change, Kul tur -

huset Stockholm, Sweden

Liberace Che. . . , Galerie

Sabine Schmidt , Cologne

Malerei V, Galerie M o n i k a

Spri i th, Cologne

1995

Derfokussierte Blick, Kleve,

van der Heydt Museum,

Wuppertal

Malerei III, Galerie M o n i k a

Spri i th, Cologne

1994

Karaoke (Fussball-WM),

Portikus, Frankfurt

Zu Besuch, Nicola i /Bochynek,

Duisburg

1992

Galerie Jablonka, Cologne

Galerie Luis Campaña,

Cologne

SELECTED B I B L I O G R A P H Y

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Painter and Collector." After-

all 10 (Fal l /Winter 2004), pp.

29-38.

. "Some Gr ids ." MOUSSE

18 (Apr. 2009), pp. 33-35.

Baer, M o n i k a . "Ideal Syllabus."

Frieze 119 (Nov. /Dec . 2008),

pp. 40-41-

. " M o d e l l und M o t i v . " In

"Feminismus!," special is­

sue, Texte zur Kunst $4 (Dec.

i o n ) , pp. 113—19.

Biswas, Al l ie . "Culture Talks: Valeria

Napoleone and Her Catalogue

o f Exquisite Recipes." AnOther

Magazine (Sept. 2012). http://

www.anothermag.com/

current/view/ 2225/Valeria_

Napoleone and_her_Catalogue_

of_ Exqu is i te_ Reci pes.

Bruce, Laura. " M o n i k a Baer." Bomb

113 (Fall 2010), pp. 62-63.

Buhr, Elke. ' M o n i k a Baer." In

Kritisches Lexikon der Gegen-

wartskunst. Edi t ion Zeit-

verlag, 2008.

. "Verfuhrung wider Wi l l en . "

Arty (July 2007), pp. 62-67.

Damenwahl: Monika Baer, Vaul

McCarthy. E x h . cat. Portikus,

Frankfurt/Siemens Kul tur -

programm, 1998.

"Das Spiel làlst alies often."

Badische Zeitung Mar. 24, 2005.

Draxler, He lmut . Shandyismus:

Autorschaft als Genre. Exh .

cat. Secession W i e n / K u n s t -

haus Dresden/Merz

Akademie, 2007.

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Galerie Barbara Weiss." Frieze

69 {Sept. 2002), p. n o .

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Finel Hon igman , A n a . " M o n i k a

Baer, Galerie Barbara Weiss."

http://www.saatchi-gallerv.

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Goldstein, A n n . "Best o f 2008."

Artforum (Dec. 2008), p. 285.

Grevenstein, Alexander van, and

Paula van den Bosch. Collectie

Hedendaagse Kunst, vol . 4

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52-53. Bonnefantenmuseum,

Maastricht, zoo - 7 .

GroíSwendt, Sabine, and Katharina

Helwig . "Zwischen Leiplan-

ken und Plattenbauten—Die

Straise erobert die Kunst ."

Kunst Magazin Berlin (July/

A u g . 2007), pp. 4-5.

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an der Bildoberflàche.'Virr«i 'r.

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Hinr ichsen, Jens. "Achterbahn:

M o n i k a Baer und Thomas

Bayrle kombinieren ihre A r -

beiten in der Galerie Barbara

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H o c h , Jenny. " D i e Leinwand mas-

sieren—Arbeiten von M o n i k a

Baer in der M i i n c h n e r

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C o l l e c t i o n o f t he a r t i s t

Untitled 1997

O i l o n c a n v a s ; 145 x 290 c m

P r i v a t e c o l l e c t i o n , B e l g i u m

Untitled 1997

O i l o n c a n v a s ; 135 x 300 c m

P r i v a t e c o l l e c t i o n

Untitled (man with hole), 1998

O i l o n c u t c a n v a s ; 190 x 260 c m

C o l l e c t i o n o f G a b y a n d W i l h e l m

S c h ü r m a n n , H e r z o g e n r a t h

Kleine Spritztour, 2001

O i l o n c a n v a s ; 51 x 64 c m .

P r i v a t e c o l l e c t i o n

Jager, 2003

A c r y l i c a n d o i l o n c a n v a s ;

190 x 300 c m

C o l l e c t i o n o f G a b y a n d W i l h e l m

S c h ü r m a n n , H e r z o g e n r a t h

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W a t e r c o l o r , i n k , ashes , a n d o i l o n

c a n v a s ; 250 x 280 c m

C o l l e c t i o n o f T r a c y a n d G a r y

M e z z a t e s t a

Untitled 2005

W a t e r c o l o r , i n k , ashes, a c r y l i c , a n d

o i l o n c a n v a s ; 250.5 x 280.5 c m

T h e M u s e u m o f C o n t e m p o r a r y

A r t , L o s A n g e l e s , g i f t o f G a l e r i e E v a

P r e s e n h u b e r , Z u r i c h

Vampire* 2 0 0 7

I n k , ashes , a c r y l i c , a n d o i l o n

c a n v a s ; 2 8 0 x 250 c m

B o n n e f a n t e n m u s e u m , M a a s t r i c h t

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O i l o n c a n v a s ; 98 x 7 4 c m

C o l l e c t i o n o f C a r o l a G o l d i n g

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W a t e r c o l o r , a c r y l i c , a n d o i l o n

c a n v a s , a n d t h r e a d ; 68 x 4 6 c m

S a m m l u n g V e r b u n d , V i e n n a

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W a t e r c o l o r , a c r y l i c , a n d o i l o n

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C o l l e c t i o n o f G a b v a n d W i l h e l m

S c h i i r m a n n , H e r z o g e n r a t h

Untitled, 2 0 0 8

W a t e r c o l o r . a c r y l i c , a n d o i l o n

c a n v a s , a n d t h r e a d ; 103 x 81 c m

C o l l e c t i o n o f J o h n M o r a c e a n d

T o m K e n n e d y

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W a t e r c o l o r a n d a c r y l i c o n c a n v a s ,

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C o u r t e s y o f t he a r t i s t a n d G a l e r i e

B a r b a r a W e i s s . B e r l i n

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A c r y l i c a n d o i l o n c a n v a s ;

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F e d e r a l R e p u b l i c 01 G e r m a n v -

C o l l e c t i o n o f C o n t e m p o r a r y A r t

Untitled 2 0 0 9

W a t e r c o l o r , a c r y l i c , a n d o i l o n

c a n v a s , a n d t h r e a d ; 8 6 x 7 4 c m

P r i v a t e c o l l e c t i o n , C o l o g n e

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O i l o n c u t c a n v a s a n d filter-tip

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C o u r t e s y o f the a r t i s t a n d G a l e r i e

B a r b a r a W e i s s , B e r l i n

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O i l o n c u t c a n v a s ; 50 x 4 0 c m

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O i l o n c a n v a s ; 9 0 x 78 c m

T h e U n i v e r s i t y o f C h i c a g o B o o t h

S c h o o l o t B u s i n e s s

Blaue Karten, 2011

O i l o n c a n v a s ; 8 0 x 6 0 c m

C o u r t e s y o f t he a r t i s t a n d R i c h a r d

T e l l e s F i n e A r t , L o s A n g e l e s

rote Wand, 2011

O i l o n c a n v a s ; 180 x 135 c m

C o l l e c t i o n o t C r a i g a n d L y n n

J a c o b s o n

F R O N T A N D BACK C O V E R S : ledge, 2011

Extended Failure, 2011—12

O i l a n d a c r v l i c o n c a n v a s ;

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C o l l e c t i o n o f G a b y a n d W i l h e l m

S c h i i r m a n n , H e r z o g e n r a t h

Untitled 2011-12

O i l a n d a c r y l i c o n c a n v a s ;

180 x 134.5 c m

C o l l e c t i o n o f T r a c y a n d G a r y

M e z z a t e s t a

rear painting, 2012

A c r y l i c o n c a n v a s ; 80 .5 x 65.5 c m

P r i v a t e c o l l e c t i o n , C o l o g n e

rote Wand (4), 2012

O i l o n c a n v a s ; 190 x 168.5 c m

P r i v a t e c o l l e c t i o n

Î had habits ($a), 2013

B o t t l e a n d o i l o n c a n v a s ;

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P r i v a t e c o l l e c t i o n , C o l o g n e

ledge, 2013

O i l o n c a n v a s ; 250 x 2 2 0 c m

P r i v a t e c o l l e c t i o n , C o l o g n e

Untitled 2013

O i l o n c u t c a n v a s , w o o d , a n d

l i q u o r b o t t l e ; 50 x 4 0 c m

C o u r t e s y o t t he a r t i s t a n d G a l e r i e

B a r b a r a W e i s s , B e r l i n

palette, 2013

M i r r o r , a c r y l i c , a n d o i l o n c a n v a s ;

85 x 6 8 c m

P r i v a t e c o l l e c t i o n , C o l o g n e

OPENING

THURSDAY, OCTOBER 24

5 : 0 0 - 8 : 0 0 p . m .

E x h i b i t i o n P r e v i e w

A b b o t t G a l l e r i e s (ga l ler ies 182-184)

6 : 0 0 p . m .

M o n i k a B a e r i n c o n v e r s a t i o n w i t h

L i s a D o r i n

R v a n E d u c a t i o n C e n t e r , S t u d i o C

7 : 0 0 p . m .

O p e n i n g R e c e p t i o n

P r i t z k e r G a r d e n

GALLERY TALKS

MONDAY, NOVEMBER 18

2 : 0 0 p . m .

C u r a t o r i a l A s s i s t a n t R o b v n F a r r e l l

G r i f f i n C o u r t

FRIDAY, JANUARY 10

12 :00 p . m .

A S S I K I . I I C C u r a t o r K a t e N e â a

G r i f f i n C o u r t

T o m B a r n e s . N i c k B a r r o n . R o l a n d

B e r g e r , E z s t e r B o r v e n d e g a n d M a r k

W i g h t , E r i n C 0 n n . 1 l . I g o r D a C o s t a .

D o u g l a s D r u i c k . R o b v n F a r r e l l .

C h r i s t i n a G r e e n , R y a n H a g e m a n ,

D i a n e H a r t . S u s a n n a H e d b l o m .

M i c h e l l e L e h r m a n J e n n e s s . C a r o l

G o l d i n g , Y a u - M u H u a n g . C r a i g a n d

L y n n J a c o b s o n , C a r l K r a u s c . K r i s t i n

L i s t e n M a x M a s l a n s k v . W i l s o n

M c B e e . A l f r e d L . M c D o u g a l a n d

N a n c y L a u t e r M c D o u g a l . T r a c y a n d

G a r y M e z z a t e s t a , J o s e p h M o h a n .

J o h n M o r a c e a n d T o m K e n n e d y .

K a t e N e s i n , T i n a O l s e n . A m y P e l t z ,

I . m i c e I V n d c r g a s t . M e g a n R a d c r ,

H i l l a r v R e d e r . J a m e s R o n d e a u .

D o r o t h y S c h r o e d e r . G a b r i e l c S c h o r .

G a b v a n d W i l h e l m S c h i i r m a n n ,

B e n n e t t S i m p s o n . J e n n i f e r S o s -

L I I Í L . J a s o n Sue R i c h a r d T e l l e s ,

D a v i d T h u r m . P a u l a V a n d e n B o s c h .

K i r s t e n W a n d s c h n c i d e t . B a r b a r a

W e i s s , J a n i t a a n d K n u t W i e s e , a n d

J e f f W o n d e r l a n d . S p e c i a l t h a n k s

t o t h e a r t i s t , I D

P R I N T E D O N C E R T I F I E D R E C Y C L E D PAPER.

T H A N K S