The first museum exhibition in the United States devoted to the work of Berlin-based artist Monika Baer, this presentation includes nearly 30 paintings created between 1990 and 2013. The selection of canvases and their non-chronological groupings reflect the emphatic diversity of subject matter and the stylistic and material explorations of Baer’s idiosyncratic practice. Often called both conceptual and performative, her paintings are simultaneously spare and sensuous, oscillating between revealing and pretending to reveal themselves.
Baer studied painting at the internationally renowned Düsseldorf Art Academy from 1985 to 1992, a time when photography had been the prevailing field of study for nearly a decade. Meanwhile, the medium of painting was decidedly male dominated in Germany, and Baer’s early work evidences that tension: she was an artist compelled to make paintings but as if without relevant models for what those paintings should be in that moment, in that place, and by her hand.
Shortly after leaving the academy, Baer received recognition for a series known as the Mozart paintings, two of which are in this exhibition. The series expanded on her interest in the canvas as theater set that had developed in her student years, taken to an extreme, almost cinematic scale. Highly stylized and rendered in elaborate rococo detail, these paintings act as a foil for the more abstracted work that would follow. Across the subsequent 15 years, Baer has punctuated atmospheric, monochrome passages with numerous recognizable motifs—keyholes, spider webs, brick walls, and paper currency, for instance—through which her canvases enter a dialogue with one another.
The subjects of Baer’s paintings at times intentionally push up against her own standards of taste: if the artist is not sure whether she likes what she is depicting, then the painting has to work that much harder to resolve itself. Baer’s singular practice might be best understood as a torrid love affair with the medium of painting—with all the pleasure and pain that such a relationship entails.
Learn more about Monika Baer's work by watching an artist talk she gave at the Art Institute last year.
Organizer focus: Monika Baer is organized by the Art Institute of Chicago in collaboration with the Williams College Museum of Art, Williamstown, Massachusetts.
Sponsors Ongoing support for focus exhibitions is provided by the Alfred L. McDougal and Nancy Lauter McDougal Fund for Contemporary Art. Major exhibition support is provided by Igor M. DaCosta and an anonymous donor. Annual support is provided by the Exhibitions Trust: Goldman Sachs, Kenneth and Anne Griffin, Thomas and Margot Pritzker, the Earl and Brenda Shapiro Foundation, the Trott Family Foundation, and the Woman's Board of the Art Institute.
1 day 54 min ago The Art Institute of Chicago "Be a good craftsman; it won't stop you being a genius.”
Advice from Pierre-Auguste Renoir, on his birthday.
See 13 paintings by the great French Impressionist—now on view: http://bit.ly/2lj3AVq
1 day 18 hours ago The Art Institute of Chicago NOW OPEN—Go
Speed is both a product of modern life and an agent of it. At the turn of the 20th century, new technologies of mobility and transmission—trains, cars, airplanes, radio, film, television, to name only a few—increased the pace of life, collapsing distances between people and places and assaulting the senses.
Go, the second exhibition in the Art Institute’s Modern Series, explores how artists responded to different ways of experiencing and seeing the world in the accelerated modern age—through paintings, sculpture, works on paper, photographs, designed objects, textiles, books, and films.
1 day 23 hours ago The Art Institute of Chicago Happy birthday to Winslow Homer. In 1883 the artist moved to a small coastal village in Maine, where he created a series of paintings of the sea unparalleled in American art. The paintings he created after 1882 focused almost exclusively on humankind’s age-old contest with nature.
In The Herring Net, Homer depicted the heroic efforts of fishermen at their daily work. While one fisherman hauls in the netted and glistening herring, the other unloads the catch. Utilizing the teamwork so necessary for survival, both strive to steady the precarious boat as it rides the incoming swells. Homer’s isolation of these two figures underscores the monumentality of their task: the elemental struggle against a sea that both nurtures and deprives.
See five paintings by Winslow Homer in Gallery 171 of American Art—http://bit.ly/2l89rfx