Imitation of Life
Cinema in Contemporary Art
January 12 - February 23, 2008
Angela Dufresne, The Two Ladies in the Jewelry Store from Fassbinder's 'Veronika Voss' - AKA "The Oath" 2007. Oil on canvas. 54" X 84"
Imitation of Life, the newest group exhibition at Kinkead Contemporary, features the work of four up and coming artists whose work is inspired and influenced by cinema. More specifically, their work deals with cinema of the past, which examines both the history of film and a context within which to observe the present. The title of the exhibition is taken from the famous novel written by Fannie Hurst, which was itself subsequently adapted to film in both 1934 and 1959. The phrase suggests an enigma (if not a paradox) - what and where is reality, or life?
Dawn Clements' intricate, but vast drawing details the interior space of the 1952 film "Sudden Fear". While much of the film's success relies on the close-up facial expressions of its star, Joan Crawford, Clements provides the viewer with an intimate exposure of the environment from which the character operates. It is with this environment that the character becomes understandable, knowable. The physical scope of the work is grander than any one perspective can take in, and therefore, forces the view to put together multiple viewings of the scene. Much like living there.
Angela Dufresne seduces the viewer into spectacular moments. In doing so, she co-opts the films she takes inspiration from. Mere moments on film are given epic life in her paintings. Much of which is due to her use of broad, ethereal washes of color, as well as a uniquely individual vision of portrayal.
Susan Silton's series of digital photographs are based on 50's and 60's apocalypse films such as "Fail Safe" (1964) and "Five" (1951). The stills of which are carefully constructed in balance with bold stripe patterns. For Silton, line and pattern carry as much social significance as the films. Her bands of color unveil additional information, or clues, in the understanding of a media that is often considered to be immediately recognizable.
Mark Stockton's work references the early films of Tom Cruise. Primarily, the works focus on Cruise' breakout year, 1983. The paintings strike an unusual chord between what we see in the painting and what we know of the subject. Or think we know. Stockton presents us with a truly uncanny imitation of life, the boundaries of which are both ephemeral and constantly moving.
