Amelie von Wulffen, Untitled, 2013, oil on canvas, 78 3/4 × 55 1/8".

Amelie von Wulffen

Galerie Meyer Kainer

Amelie von Wulffen, Untitled, 2013, oil on canvas, 78 3/4 × 55 1/8".

Goya’s a great guy—you’d be happy to go on vacation with him, see exhibitions together, or just shoot the breeze, and you can always call him when you’re feeling down. Or so it would seem, based on Amelie von Wulffen’s latest paintings. Max Beckmann, on the other hand, comes off as a little less approachable: Although the weather’s perfect for sailing, he just stands there in his blue jacket, smoking and staring blankly at nothing in particular. Then there’s van Gogh, another member of von Wulffen’s posse, gazing from the wooden backrest of an old-fashioned classroom chair with an expression of slightly befuddled skepticism—you’ve seen it before, in his Self-Portrait with Grey Felt Hat, 1886–87. Von Wulffen’s exhibition “Am kühlen Tisch” (At the Cool Table) was chock-full of visual quotations from the dawn of modernism and bristled with the period’s newfound sense of

to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the May 2015 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.