“Deborah Buck’s energy is preternatural and her generosity of spirit seems to flow from the same deep well. We met at a wedding several years ago, and I learned that her path to becoming a full-time artist was not the usual one, largely because her creative drive was broad, democratic, and highly entrepreneurial.”

“Deborah Buck’s first solo exhibition at JENNIFER BAAHNG, Deborah Buck: Witches Bridge, on the Upper East Side, is curated as a small survey spanning her forty-year career. Buck’s earlier work is a fresh discovery and confirms that she has been an astute observer of painting culture and a lover of paint from the beginning. The works are populated with sensually painted, strange, centralized forms that recall the lineage of neo-expressionist paintings from the late 1970s to the 1980s. “Bridge” is an appropriate word to ponder upon Buck’s work, as the relationship between past and present and her chosen themes are apparent in this exhibition. One anticipates the continuation of bold evolutions in years to come. Between oil and water, paper and panel, and a woman’s power in society, we observe how the metaphysical nature of Buck’s early work translates into critiques and satirical undertakings of the discomforts felt today. Buck imagines narratives that probe; these invented worlds would’ve never been known without her meandering brush. The freedom in her recent exploration of abstraction is most felt as a hard-won stability instilled with exaltation.”

“The Church’s summer 2024 exhibition considers humor and contemporary art, focusing solely on the work of female-identifying artists. Conceived and organized by Chief Curator Sara Cochran, it features the work of 40 artists across all media installed across The Church’s Main Floor and the Mezzanine…The goals are two-fold. The first is to counter the tired stereotypes and clichés about women not being funny or able to take a joke. The second is to illustrate the different forms and topics of humor in contemporary art, from artistic jokes, political outrages, bodily functions and appearances, cultural stereotypes, and sex and death to the absurd and surreal, puns and slapstick, as well as poking fun at sacred cows of art and its institutions…This exhibition gathers works that are satirical, serious, sweet, self-deprecating, ironic, mocking, strange, surreal, angry, subversive, and even gross. It takes art off its pedestal and puts the viewer in a position to laugh or shake their head.”