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Jo Baer

April 4–May 12, 2007

Jo Baer (2007)

Jo Baer (2007)
Installation view
Alexander Gray Associates

Jo Baer (2007)

Jo Baer (2007)
Installation view
Alexander Gray Associates

Jo Baer (2007)

Jo Baer (2007)
Installation view
Alexander Gray Associates

At the Back of the North Wind (1990)

At the Back of the North Wind (1990)
Oil on canvas
100h x 135w in (254h x 342.9w cm)

Of a Fearful Symmetry (Bound Hand and Foot) (1991)

Of a Fearful Symmetry (Bound Hand and Foot) (1991)
Oil on canvas
106h x 132w in (269.24h x 335.28w cm)

Shrine of the Piggies (The Pigs Hog it All and Defacate and Piss on Where From They Get It and With Whom They Will Not Share. That's It) (2001)

Shrine of the Piggies (The Pigs Hog it All and Defacate and Piss on Where From They Get It and With Whom They Will Not Share. That's It) (2001)
Oil on canvas; 72h x 60w in (182.88h x 152.4w cm)

Testament of the Powers That Be (Where Trees Turn to Sand, Residual Colours Stain the Lands)

Testament of the Powers That Be (Where Trees Turn to Sand, Residual Colours Stain the Lands)
(2001)
Oil on canvas; 72h x 60w in (182.88h x 152.4w cm)

Jo Baer (2007) Jo Baer (2007) Jo Baer (2007) At the Back of the North Wind (1990) Of a Fearful Symmetry (Bound Hand and Foot) (1991) Shrine of the Piggies (The Pigs Hog it All and Defacate and Piss on Where From They Get It and With Whom They Will Not Share. That's It) (2001) Testament of the Powers That Be (Where Trees Turn to Sand, Residual Colours Stain the Lands)

Press Release

Alexander Gray Associates

In her exhibition at Alexander Gray Associates, Jo Baer presented four large-scale works, which she has referred to as “image constellations.” These paintings, shown for the first time in the United States, incorporate imagery drawn from a range of historical, mythological, cultural and natural sources. Two paintings from the early 1990s, are epic in scale, with a soft palate of beiges and browns, with delicate ghosted drawn lines that appear fluid, through a deft application of paint. At the Back of the North Wind (1990) arranges maps and cave drawing-like patterns with ballerinas, gazelles, and a hanging man; Of A Fearful Symmetry (1991) also includes transmutations of humans and animals, a soldier’s boots, and dancers. Paintings from the early 2000s are bolder in their visual impact, with deeper colors and architectural presence. The content of the paintings are associative and layered; in Testament to the Powers that Be (2001), topographical maps intersect with mountain ranges and details of the Hoover Dam; in Shrine of the Piggies (2001), outlines of male reproductive organs are overlayed on the interior view of a men’s bathroom.

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