Thomas Eggerer

  • Edward Hopper, Approaching a City, 1946, oil on canvas, 27 1⁄8 × 36". © Heirs of Josephine N. Hopper/Licensed by Artists Rights Society (ARS), New York.


    THE EDWARD HOPPER SHOW at the Whitney Museum of American Art in New York focused on the artist’s experience of the city, particularly the changing architecture of Greenwich Village, where he lived on Washington Square Park from 1913 until his death in 1967. Organized by Kim Conaty, the exhibition is expansive, featuring impressive selections from throughout the artist’s career, from his dark circa-1900 sketches of the city’s inhabitants to chalk studies, etchings, watercolors, examples of the artist’s commercial work, and several of Hopper’s most famous canvases, including Automat, 1927, Room

  • Monika Baer, Überlieferung verpflichtet, 2014, acrylic and oil on canvas, 98 3/8 × 86 5/8".

    Monika Baer

    THE GERMAN WORD FOR “BOTTLE”flasche—is slang for “loser” or “wimp.” And the bottles in Monika Baer’s new paintings recently on view at Greene Naftali in New York look defeated indeed. Some lie flat, while others, though standing upright, are almost empty, ready to be discarded. Like the figures in Baer’s “Mozart paintings,” 1996–97, the bottles directly engage the viewer with a valedictory stance, as if taking a bow before an imagined audience.

    It would be wrong to credit the undeniable appeal of these paintings to the stunning rendering of the bottles alone. As in her previous work,

  • Shelly Silver, in complete world, 2008, still from a color video, 53 minutes.


    To take stock of the past year, Artforum contacted an international group of artists to find out which exhibitions were, in their eyes, the very best of 2008.


    James Coleman, Background, 1991–94 (Irish Museum of Modern Art, Dublin) Existential photo-novel? Soap opera? Mail-order-catalogue photo shoot? Coleman’s installations, pairing slide projection with synchronized audio, don’t lend themselves to easy categorization. In Background, shown at the Irish Museum of Modern Art this year, the male narrator’s voice adds to the general dislocation, straining earnestly to convey some sort