Maureen Bloomfield

  • “Art of the Fantastic: Latin America, 1920–1987”

    The fantasia/phantasm that for North Americans connotes whimsy, extravagance, or illusion retains, in Latin America, its meaning of “image-making” and describes a way of scrutiny, a habit of mind. In that part of the world, whose past and present history has been marked by the multiple collision of cultures brought about by colonization and revolution (and their attendant dislocations), everyday reality is necessarily fantastic, just as the glance that records such a reality must be masked. In the wake of 16th-century European explorers and conquerors, Anglo-Americans tend to read Latin American

  • “The Analytical Theatre: New Art from Britain”

    “The Analytical Theatre: New Art from Britain,” a traveling exhibition organized by Independent Curators Incorporated, offers a strong and interesting selection of works, marred, however, by the overall concept by which curators Milena Kalinovska and Michael Newman have tried to link together a broad variety of approaches in recent British art. Newman, in his catalogue essay, proposes a shorthand way of reading post-Modem art and then strains to fit these 24 works by ten British artists into that framework.

    Here, “analytical theatre” does not derive from Freud’s theatrum analyticum (mentioned by

  • Rudolph Baranik

    Rudolph Baranik’s paintings are portraits of a state of mind. The ashen heads of his “Napalm Elegy” series, from the late ’60s and early ’70s, evoke not only Vietnam but Hiroshima, while the burrowing, fragmentary torsos of White Sleep, 1965–85, and Dark Silence, 1966, recall photographs of survivors of the death camps and Henry Moore’s drawings of Londoners taking shelter in the Underground stations during World War II. In contrast to works of protest like Mauricio Lasansky’s “Nazi Drawings,”1962–66, or Goya’s “Disasters of War,” 1810–14, Baranik’s rigorous compositions sustain a balanced tone