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Mike Asente, Molly Blieden, FF Alumns, at Cynthia Broan Gallery, opening April 4th
Location: Cynthia Broan Gallery
423 West 14th Street, New York, NY
Dates: April 4 - April 27, 2002
Opening: Thursday, April 4, 6:00 to 9:00 pm
Hours: Tuesday to Saturday, noon to 6:00 pm
Barometer, most commonly known as an instrument for measuring atmospheric trends, has been adopted by ten curators as a metaphor for forecasting the current artistic climate. The artworks on view in the exhibition Barometer exemplify a turn toward a more intimate, personal, and even obsessive creative process.
There are common threads to be found in many of the works selected. Several artists reconfigure and recontextualize found objects, while others use more traditional materials with rhythmic repetition, resulting in a visual manifestation of the artists' process. Many of the artists create a visual subterfuge by suppressing a work's darker content beneath a sumptuous surface.
The following artists are represented in the exhibition:
Michael Asente, in the manner of the surrealists, interprets a taboo¹ body part of specific people as soft and lush pillow forms. The tone of these portraits¹ varies from abject to affectionate. Along with the forms included will be work from the 'stuffed frames' series, also dealing the same subject matter but in a more direct manner.
Valerie Atkisson painstakingly records her family¹s matrilineal and patralineal genealogy and history back through 72 generations, building elegant, fragile, and elongated sculptures one family member at a time.
Molly Blieden is both engaged and enraged by the corporate workplace and its inequitable assignments of value to different types of work. She recycles paper clips, rubber bands, and catalogue strips, weaving them by the thousands into garments, curtains, and other functional configurations, transforming and humanizing corporate waste.
Amanda Church's curving, sensual configurations present distillations of psychological states, which are inextricably wed to formal convention. Referencing sources as diverse as ¹70s graphic design and French Romanticism, the images convey distortion, buoyancy, eroticism, and resilience.
Thomas Hoppe focuses on childhood icons, namely the dolls Raggedy Anne and Andy. His animated video explores the dolls¹ structure using sophisticated geometric, musical, and color theories in order to reveal their cultural resonance.
Erick Johnson paints lyrical, rhythmic images, referencing the overlap between landscape, architecture, and the body. Building up the surface with layers, he creates an intuited space combining the slowness and resonance of color field painting with the speed and definition of the calligraphic elements.
Soonok Jung explores her concept of high technology through the use of interlacing tubular forms that suggest both microscopic organisms and technological infrastructures.
Alexandra Newmark knits soft angora wool with obsessive intensity, creating slightly fiendish, yet touchable biomorphic forms that undulate in space.
Lyz Olko's drawings give the benign children¹s classic, Pat the Bunny, an uncomfortable spin by pairing its text with images from Larry Clark's Tulsa. The artist draws them with her weaker hand to enhance the unsettling effect.
Jason Peters takes discarded, mass-produced office furniture and reconfigures it into sculpture. He aims to provoke an abrupt and forceful reaction by challenging the viewer¹s spatial perceptions.
Jean Shin accumulates and alters found material. She transforms these discarded remnants into sculptural forms that explore new relationships between parts to a whole or individuals to a collective.
Cynthia Broan Gallery at (212) 633-6525
by email at email@example.com
or go to: www.fitbarometer.com.