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Josephine Gail "Jo" Baer (born August 7, 1929) is an American painter, whose works are associated with minimalist art.〔(Dia Foundation ) Retrieved October 3, 2009〕 She began exhibiting her work at the Fischbach Gallery, New York, and other venues for contemporary art in the mid-1960s.〔() The Tate, London Retrieved October 3, 2009〕 In the mid-1970s, she turned away from non-objective painting. Since then, Baer has fused images, symbols, words, and phrases in a non-narrative manner, a mode of expression she once termed "radical figuration."〔Jo Baer, "I am no longer an abstract artist," Art in America 71 (October 1983), pp. 136–137, reprinted in Broadsiders & Belles Lettres: Selected Writings and Interviews 1965-2010 (Amsterdam: Roma Publications, 2010), pp. 111–112.〕 == Early life and work, 1929-1960 == She was born Josephine Gail Kleinberg into an upper-middle-class family. Her mother, Hortense Kalisher Kleinberg, a commercial artist, was a fierce proponent of women's rights and imbued her daughter with a sense of independence. Her father, Lester Kleinberg, was a successful commodities broker in hay and grain. Josephine studied art as a child at the Cornish College of the Arts, but because her mother wanted her to become a medical illustrator, she majored in biology at the University of Washington, Seattle, which she attended from 1946-1949.〔Jo Baer, oral history interview with Avis Berman, 2010 Oct. 5-7, Smithsonian Archives of American Art.〕 She dropped out of school in her junior year to marry a fellow-student at the University, Gerard L. Hanauer. The marriage was over quickly, and in 1950, Baer went to Israel to explore the realities of rural socialism on various kibbutzim for a few months. Returning to New York City, from 1950–53 she did the course work for a master's degree in psychology at the New School for Social Research.〔Judith Stein, "The Adventures of Jo Baer," Art in America, May 2003, 104-111, 157; reprinted in 'Broadsides & Belles Lettres: Selected Writings and Interviews 1965–2010, pp. 13–26.〕 Baer went to school at night, while during the day she was employed by an interior design studio as a draftsman and secretary. Baer moved to Los Angeles in 1953 and shortly afterwards married Richard Baer, a television writer. Their son, Joshua Baer, who became an art dealer, writer, and consultant, was born in 1955; the couple was divorced in the late 1950s. During this time Baer began to paint and draw for the first time since adolescence, becoming friends with Edward Kienholz and other local artists in the orbit of the Ferus Gallery. She met the painter John Wesley, to whom she was married from 1960-1970. She, Wesley, and Joshua moved to New York in 1960, where Baer lived until 1975. After separating from Wesley, she was in a long-term relationship with the sculptor Robert Lawrance Lobe.〔"Biography," in 'Broadsides & Belles Lettres: Selected Writings and Interviews 1965–2010, p. 9.〕 Baer's work of the late 1950s emulated paintings by members of the New York School, particularly Arshile Gorky, Robert Motherwell, Clyfford Still, and Mark Rothko. Rothko, she observed, "gave me permission to work with a format."〔 Jasper Johns's paintings and sculpture also made an immediate impression, because they suggested "how a work should be the thing itself."〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Jo Baer」の詳細全文を読む スポンサード リンク
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