Adam Cvijanovic, who has been exhibiting since the mid-1980s and is now represented by Bellwether Gallery in Brooklyn, is gaining increasing praise for large-scale, deftly done illustrational landscapes and other scenes, ranging from cowboys in the West to a beach thronged with young people (he was also featured in the traveling "On the Wall" exhibition organized last year by RISD Museum's Judith Tannenbaum). For his exhibition in Philadelphia, he was inspired by local history to produce two frescoes about the city's most famous utopian thinkers -- the Quakers and MOVE, the controversial "back to nature" commune.
Adam Cvijanovic doesn't work from photographs, his invented compositions arise from the familiarity of internalised images. Using the same subject matter as Sassy Sally, Show Boat renders a smaller version of fairground aftermath. Painted in oil on board, Cvijanovic offers surrealism with a fixed visual logic. Set in a nowhere landscape, his festival remnants are made monolithic, each creating a sense of heightened spatialawareness via multiple vanishing points and extreme perspective. Rendered with the faded tones of American nostalgia, Cvijanovic envisions a ghost town of bygone delights and tawdry amusement.
Stemming from his former job as a commercial muralist, Adam Cvijanovic's paintings combine pop kitsch with the gravitas of historical painting. Completely self-taught, Cvijanovic approaches painting with an unconventional process: using a variety of acrylic and latex household paints on Tyvek, his vast images become transportable frescoes, giant architectural interventions that can be remodelled to fit various gallery spaces. Subverting the utopian connotations of monumental painting, Cvijanivic's tableaux embrace the serene and idyllic while portraying haunting scenes of desolation.
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Made from metal, wood, and vynil, Tom Burr's Bitch, Immediately After Vynil, balances the seductive qualities of his materials with formalist objectivity. Incorporating references to minimalism, design, and social space, Burr infuses the manufactured aesthetic and sleek lines of 70s sculpture with an ultra-modern sensibility, incorporating narrative associations. Through his sparse presentation and refined media, Burr's arrangement compels with almost fetishistic elegance; its domestic size and ?naughty? details create an evocative subtext to the austerity of his composition.
BIOGRAPHY
1963Born in New Haven Lives and works in New York
A more satisfying relationship between text and objects is "staged" right now with the works of Tom Burr. Very well written texts address the social, architectural, and psychological space of the fluorescent, mirrored 42nd street milieu that one finds all over the "peep showed" world. The short instructive texts ("blue movies", "blue laws", "peep scumatrium" ...) open up a rich conceptual parenthesis which the artist filled with a series of uncompleted light interior short hand architecture in varying sizes.
This explains why artists who pursue these strategies run the easy risk of ending up arrogant, cynical, arbitrary and formalist in their object choice and presentation. To be informed by an analytical and critical approach often doesn't change this trap. Previous shows by AFA and others have exemplified these failures.In most cases somebody else produces the work for them using standard industrial materials. The function of these objects is often descriptive, illustrating of a set of ideas expressed more accurately by textual means. The ideological value of the present or absent texts is mainly to justify the uninteresting objects in their expository function which are as quickly to be interchangeable as produced.
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