Visual Arts Program
 


Saturday, April 21, 2007 — Saturday, May 26, 2007

Joan Linder

The Pink

Joan Linder - <em>The Pink</em>
Joan Linder - <em>The Pink</em>
Joan Linder - <em>The Pink</em>
Joan Linder - <em>The Pink</em>

"In culture hyper-saturated by electronic imagery I use the traditional materials of a quill pen and a bottle of ink to create large-scale images that persist in exploring and claiming the sub-technological process of observation and mark making. In my recent work I am creating life size representation of figures and objects. There is a vital relationship that arises between the observer and the observed on a scale of one to one.

The sleight or sloppiness of hand creates an awkward and intimate surface which is compounded by the definitive and energized process of cross hatching. My subjects include the banality of mass produced domestic artifacts; the politics of war; sexual identity and power; and the beauty disclosed in the close scrutiny of natural and man made structures. This diversity of subject matter is a critical element in my attempt to express the complexity and variety of contemporary life."


In her latest work, produced for this exhibition, Linder has produced a 45 foot drawing in ballpoint pen ink, depicting the interior of one wall of the popular local bar The Pink Flamingo aka The Pink. From political placards, to music ephmera, to sundry tchotckeys, to the requisite array of liquor bottles, Linder's portrait of the Pink captures an ambience specific to a single, local environment but sufficiently general to exist as a template example of any bar rooted in time and the accumulated experiences of its staff and patrons. Linder's exquisite draftsmanship is accurate to her subject but retains its casual, hand-rendered aspect—everything slightly and mildly askew as thought her lines are just slightly inebriated.


Some publications related to this event:
April, 2007 - 2007

 
 
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David Schirm
All The Glad Variety


Though distilled into broad symbolic forms or abstract landscapes, David Schirm's work often springs from his own experiences during the Vietnam War and paintings may allude to the scenes of horrific and senseless battles, the strafing of weapons across a landscape, "whose laser-like blazes of fired bullets gave a distinctive hum of un-worldliness to the darkness." Though his depictions of landscape forms even touch upon the pastoral in their depiction and use of color, Schirm's original point o ...