Here in New York the fall of the twin towers etched a pretty deep scar in the civic consciousness. Everyone was affected by it in some way, and people still have a hard time talking about it. Unlike the millions around the U.S. who goggled at the event over and over on TV, in this city it was a lived thing. Ironically it was those TV-gogglers, with no direct experience of the tragedy, who bayed most loudly for war. People here just wanted Bush to stop stirring the pot. (Not everyone, but hundreds of thousands turned out for demonstration after demonstration.) Below, images of New York artist Matt Freedman's work at vertexList, from a two person show with Jude Tallichet. Shades of Richard Dreyfuss and the Devil's Tower in Close Encounters of the Third Kind: the damn things get to you.
Tom, the link to Matt Freedman's work at vertexList appears to be out, though the pix you supply kind of move me in a way that many other images directly using the towers hadn't. I'm still trying to figure out why these images of simple though odd arangement are working so in (to so many possible truths) at the same time appearing so playful.
Link fixed, thanks. I'd say Freedman's that rarity in the art world who can handle more than one emotional pitch in the same work, whereas the general drift is toward art with a clear meaning and vibe that can be reduced to a curatorial wall label. (My own "label" of his piece aims for political content that couldn't be expressed in an institutional setting but otherwise also grossly oversimplifies.)
I love these.
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Here in New York the fall of the twin towers etched a pretty deep scar in the civic consciousness. Everyone was affected by it in some way, and people still have a hard time talking about it. Unlike the millions around the U.S. who goggled at the event over and over on TV, in this city it was a lived thing. Ironically it was those TV-gogglers, with no direct experience of the tragedy, who bayed most loudly for war. People here just wanted Bush to stop stirring the pot. (Not everyone, but hundreds of thousands turned out for demonstration after demonstration.) Below, images of New York artist Matt Freedman's work at vertexList, from a two person show with Jude Tallichet. Shades of Richard Dreyfuss and the Devil's Tower in Close Encounters of the Third Kind: the damn things get to you.
- tom moody 4-03-2005 11:40 am
Tom, the link to Matt Freedman's work at vertexList appears to be out, though the pix you supply kind of move me in a way that many other images directly using the towers hadn't. I'm still trying to figure out why these images of simple though odd arangement are working so in (to so many possible truths) at the same time appearing so playful.
- Brent Hallard (guest) 4-03-2005 1:45 pm
Link fixed, thanks. I'd say Freedman's that rarity in the art world who can handle more than one emotional pitch in the same work, whereas the general drift is toward art with a clear meaning and vibe that can be reduced to a curatorial wall label. (My own "label" of his piece aims for political content that couldn't be expressed in an institutional setting but otherwise also grossly oversimplifies.)
- tom moody 4-03-2005 6:37 pm
I love these.
- sally mckay 4-05-2005 1:11 am