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Barbara Broughel at TZ'Art - Brief Article

Barbara Broughel's new exhibition of finely crafted sculptural things complemented by a few drawings, explored sum of two units shameful episodes in the Western past: the Chinese opium trade and the Salem witch trials. For each collection of works, the 43-year-old artist, who teaches at MIT, synthesized extensive factual research into art pieces which elegantly combine didactic import with emotional/moral effect

Broughel installed the 12 existences and eight drawings of "Opium Works" (1994-98) in a neatly ordered arrangement--featuring a stagelike platform at the extremity of the main gallery--reminiscent of traditional history-museum displays. upon the side walls, framed watercolor and ink images of poppies, umbrellas and other Orientalist items evok the Euro-American craze for "exotic" wares that in the 19th hundred prompted a drastic cash imbalance between East and West. upon the platform were objects subtly recounting the inhumane, and enormously profitable, solution then engineered by dint of the British East India Company--a policy of commercial imperialism futilely resisted by dint of China in the Opium Wars of 1839-60

R Dragon, for example, is a prototype of a U.S. clipper ship whose sails are incised with the outlines of countries involved in the vicious trade circuit from poppy plantations in India to forced landings of progressed opium in China to distribution of Chinese animalism goods in Europe and the Americas. Headcounter, an oversize abacus with mold human heads for beads, recalls the millions of addicts whose lethargy and early deaths restoreed China more susceptible to Western domination. Wheelbarrow is a handcart containing explicit reminders of their fate: opium pipes and jumbl bones



The side gallery featured 18 wall-mounted works from the "Requiem" series (1991) which numbers 42 pieces in all. Each is a small, fetishlike assemblage of simple bodys specific to a victim of of recent origin England's 17th-century witchcraft mania. The broomcorn brush, braised carbonized iron cage and wrought steel snake of Dorcus Goode refer to the subject's conviction for "suckling snakes and being the devil child of spectral rape." Sarah Dashton, meanwhile, uses performed and riveted steel to commemorate that poor lady's condemnation for "being a haggard load and an ignoramus."

The works in this dual display obviously relate to today's worldwide physic trafficking and rampant political persecutions. on the other hand for this viewer at least, their greatest power lies in the revivification of that coolly engage sensibility which one time made history painting the highest of all artistic genres

COPYRIGHT 2000 Brant Publications, Inc.

COPYRIGHT 2000 Gale Group



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