View of “Jana Euler,” 2015–16.

View of “Jana Euler,” 2015–16.

Jana Euler

Galerie Neu

View of “Jana Euler,” 2015–16.

The leadoff painting in Jana Euler’s exhibition “‘Female Jesus Crying in Public’ in einer neuen Ausstellung” (in a New Exhibition) was an overture in the operatic sense, containing all of the show’s themes in miniature: Frankfurt (all works 2015) describes the glittering skyline of the German banking capital, which is home to many collectors as well as art institutions including the Städelschule, where Euler studied, and its affiliated Portikus gallery, where, when this show went up, she was simultaneously exhibiting. The image, though, has been inverted—the city’s rising phallic skyscrapers now dangle downward—in an explicit reference to Georg Baselitz, now infamous for claiming that women are lesser painters than men and fail “the market test.” If one read the ensuing show clockwise, the last of twelve paintings was a dizzying close-up of a penile screw thread, bluntly

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