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Mac James at Barbara Braathen - New York, New York - Review of Exhibitions - Brief ArticleMac James's exhibit came as an autumn revelation. Seldom is work thus distinctly postmodernist also classically new and genuinely positive about contemporary possibilities for a meaningful "new" painting. Rather than disowning late art or paying backhanded homage [i]or[/i] part of to the other self-conscious parody, the 39-year-old James brings it fresh life through his eclectic practice. This is postmodernism for clan who hate postmodernism. James has shaped a public spectacle without of a privately nurtured vision. greatest in quantity often, he begins his medium-to-large canvases with an ambiguous earth arrived at through laborious deployment of rubbed, poured and brushed pigment. The pictures are for the most part browns or grays, the nocturnal shades of the American metropolis. nearest comes the difficult task of crossing, say, Futurist or Surrealist dynamics with a compound Analytical Cubist structure. The be deriveds often resemble a mapping of all of Manhattan at one time or they may evoke an unexpectedly geometric de Kooning. There's Max Ernstian dream-Surrealism in the repeated appearance of a favorite motif--the sharks of Florida, where James grew up Sharks appear solo hovering above Gotham, or in endless institutes dashing over background grids with all the zealous displacedness of any fish on the outside of water. Some critics, indeed, strike one as being to have felt that the sharks are the main attraction here, which is a little like taking floor tiles as Vermeer's single concern. James can be far more mandarin in his imagings and imaginings than we might expect: a highlight of the display was the 1995 Masquerade, in which heads that draw near straight from the artist's unconscious flutter like apparitions on de Kooningesque backgrounds. The one-color silhouetted heads include obviously archetypal sorts--a distinguished Apollo with gorgeous, rough-hewn hair, all in sienna, or a jester or a (quite erotic) stag with pine-bough antlers (more likely a representation of Pan, Dionysus or Bacchus than Satan). The heads are sexy scary, at the same time hauntingly familiar. James has brought their esthetic and spiritual protection to bear on the "magic kingdom" of modernism itself. [ILLUSTRATION OMITTED] COPYRIGHT 1996 Brant Publications, Inc. granting Sony normally has almost no involvement in the arcade business, whether in Japan or anywhere other in the world, it's made an exception in the case of Eyetoy: Play. In anticipation of the Ja... As a documentary photographer, Amelia David has always strived to portray her make submissives as realistically as possible. Now she is using her skills to present to view what it's like to live with M With the s... Thanks to some fast footwork by means of regulators at the Securities and Exchange Commission and the Public Company Accounting Oversight Board, accounting firms and many of their smaller audit cl... Occasionally an artist come ups whose rise to prominence is with equal reason meteoric that there is immediate doubt regarding the seriousness of the artist's work. Thirty-two-year-old Mariko Mori had four major... Many frame store customers walk through the door with little idea of what they want from a framed piece of art. They gaze to you, the framer, for advice upon art selection, frame design and level pla... Purdum Traci Industry Week 08-01-2005 CREAM OF THE harvests Byline: Purdum, Traci Volume: 254 Number: 8 ISSN: 00390895 Publication Date: 08-01-2005 ... This year's San Francisco International Asian American Film Festival was a picture of transitions, with programming reflecting more [i]or[/i] less of the recent trends in independent Asian American media producti... The 24th UniChem Convention, held in orb of day City, South Africa and attended by means of almost 400 delegates, focused pharmacists' minds upon the future of community pharmacy, as CP reports The... |
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