Fake DeKooning 1959

Editor: This is Jo Baer's "Fake de Kooning," painted in 1959 with oil paint. It definitely evokes that mid-century abstract expressionist style, a kind of nervous energy, but more muted in color. How do you interpret this work in relation to its title? Curator: Well, the title itself, "Fake de Kooning," points to an interesting commentary on authenticity and authorship within Abstract Expressionism. Baer’s choice immediately creates a tension, a symbolic questioning of the established artistic hierarchies. What is being faked here, exactly? Editor: Is she suggesting that the whole style is somewhat contrived? Curator: Perhaps. Or perhaps it’s more personal, an exploration of her own artistic identity in relation to a dominant figure. The impasto technique is definitely reminiscent of de Kooning, but the color palette and composition differ. The symbolism resides in the contrast. What emotional weight do you think those muddied yellows and greens carry compared to de Kooning's bolder palettes? Editor: I think they soften it, make it feel less aggressive, more melancholic, which makes me consider how appropriation and imitation are charged symbolic gestures for women artists dealing with male dominated movements. Curator: Exactly! This “fake” carries significant cultural weight; it speaks to a negotiation with, or perhaps a subversion of, artistic lineage. We are dealing not just with brushstrokes, but also an entire conversation about artistic memory and identity. Editor: I see that now – it's not just a painting mimicking a style, it’s a statement about influence and originality. I'll definitely view Baer’s work differently. Curator: As will I. Sometimes the richest art engages in dialogues, even arguments, with its predecessors. It leaves us with renewed perspectives, I believe.