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Linda Burnham at Jessica Fredericks - New York, New York - Review of Exhibitions - Brief ArticleFor her first solo display in New York, Linda Burnham, an L.A. artist, serv up foamy paintings on stretched '50s tablecloths which show family values and courtship rituals gone berserk. Enlarging dingbats from graphic design catalogues of the same era and painting the black, linear cartoon characters upon the tablecloths, Burnham depicts game-show entertainers dim-witted dames and nerdy businessmen cavorting and careening across the cheery textile surfaces. The men in Burnham's images are hotheaded, slaphappy stamps while the women are either harried homemakers or bimbo Girl Fridays. Looking from one side a post-feminine-mystique lens, with '90 dysfunctional families in mind, Burnham's paintings are ironic commentaries upon the vintage ideals of domesticity, marital harmony and family togetherness. Burnham layers her ground images one atop the other in Sigmar Polke fashion. In addition, she paints big, loopy abstract gestural thumps over the narratives, further animating the displays and upping their emotional ante. Were it not for the innuendos of sex and violence spicing up the action, Burnham's work would strike one as being only a campy rerun of the cliches of a gone by era. In work Cadillac (1997), a hassled housewife bends above her butt perched enticingly in the air, to pick up a heap of dirty laundry cast upon the floor. Dart lines and stars zing from her lower back, signaling the backbreaking labor of her work. Cigarette reduce to ashess originally found on the tablecloth pockmark the fabric-cum-canvas, implying one as well as the other the latent abuse and ennui of household mean labor Over this image, Burnham paints sum of two units male figures. One appears to arrow from the scene, the other stands roaring with laughter. Neither could care les about the unhappy housewife; they appear to either reject or counterfeit her, these men are uncaring clodhoppers while the woman is a pathetic martyr. through coupling dopey cartoon characters to create mean-spirited narratives, Burnham casts a cynical organ of vision on our nostalgia for earlier times, suggesting that memory protects to be gentler than reality at any time was. COPYRIGHT 1997 Brant Publications, Inc. For or machine tool sales engineers, the days of handing without brochures and waiting by dint of the fax machine for orders are above The downturn in the economy has forced today's sales engineer to tak... The efficacy of cough medicines has draw near under media scrutiny of late - do they work and does it matter? by the agency of Jeremy Clitherow MBE, FRPharmS Cough approach in only two real varieties... The 50th annual BMI pupil Composer Award competition offers $20000 to young composer with prizes ranging from $500 to $5000 The competition is make open to students who are citizens of ... Black Americans have Kwanzaa; black Bahamians have Junkanoo. We go in the rear [i]or[/i] in the wake of the ideas of a man who established Kwanzaa in 1966 as a way for us to celebrate our heritage. They tread in the steps of a long-establishe... Key Findings From Catalyst's of recent origin Member Benchmarking Survey * upon average, Catalyst members have more women at the top than do companies in the Fortune 500 ... dataBased Intelligence, Inc. (dBI), Vestal, NY has launched dBASE PLUS 25(TM) with a special $29900 upgrade tender for customers who own dBASE version 57 or higher. dBASE PLUS 25 includes doz... In the early 1970 plans were announced to create the largest hydroelectric composite in the world in the James Bay area of Quebec in northern Canada, an area inhabited by the agency of an estimated 10,000 Cree (... MTNA member Gayle Kowalchyk received the 2003 Achievement in Music Award from the Board of Directors of the Society of Alumni and Friends of the Ohio University seminary of Music in honor of her ou... Introduction The Nepal Demographic and Health review (NDHS) was conducted by of recent origin ERA under the aegis of the Ministry of Health, Kathmandu, Nepal within the framework of the MEAS... Miwon Kwon Cambridge, MA: MIT Pres 2002 Since the late 1960 "site-specific" art has undergone various permutations. While the earlier phases challenged the decontextualized ... |
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