By Francis Frascina, Rachel Stevens, Claudia Pederson, Stephen Longmire, Christine Ross, Alisia G. Chase,
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Additional resources for Afterimage Vol. 38 No. 2
A laboratory in which "monumental scale, ephemeral nature, and movingjuxtaposition of past and present" come together to delight, solicit, and challenge an audience initially drawn, presumably, to the museum's substantial and well-established historical collection. M X 0 I o M z While wandering through a little maze at the Worchester Art Museum, something that looks like a large-scale rendition of a human fenmur appears through a glass door down a hall. A. Bachman). The piece is part of the "Wall at WAM" series, organized by Susan Stoops, the The left side of the mural depicts a somber mass of dry bones, hand-drawn, enlarged, and collaged into a pile.
A multimedia artist who teaches critical writing and visual studies at the University oqfPennsvlvania in Philadelphia. AOTF-51. I lt"bs•,t"di ,m di,efiituo , 2. tW nka•r. mk-,N,•ork. Above 6th Light (2007) by Paul Chan museum's Curator of Contemporary Art. "' A laboratory in which "monumental scale, ephemeral nature, and movingjuxtaposition of past and present" come together to delight, solicit, and challenge an audience initially drawn, presumably, to the museum's substantial and well-established historical collection.
Tschaipe's disquieting video features a figure twirling to the sound of a child's music box. Set in Goethe's summer home, the eighteenth-century building overlooks the former Nazi death camp Buchenwald. A former Vietnamese refugee, LU photographs shift of artists reenactments of the Vietnam War. Staged in Virginia woods, the work calls into question the veracity of documentary photography. using sourced photography and images fi7om popular culture. Gersht photographs Holocaust sites in the Ukraine; the resulting and the Archive," examines the postmoodern imagine recreating Baldessari's early work IWrong.
Afterimage Vol. 38 No. 2 by Francis Frascina, Rachel Stevens, Claudia Pederson, Stephen Longmire, Christine Ross, Alisia G. Chase,