New York

Joshua Stern

Greathouse / Craig Cornelius Gallery

The visual and verbal rhetoric of the advertising logo has been investigated extensively in recent art. Practitioners of this genre (Gretchen Bender, Nancy Dwyer, et al.) have studied the prominence of the logo in our mediated environment, in which words efface themselves into dumb objects and, conversely, images acquire a concise eloquence. However, such an inquiry has generally been pursued through electronic media and other technologically oriented approaches common to advertising. Joshua Stern offers another perspective on this discourse.

The five large vertical paintings shown at Greathouse are oils, with mostly monochromatic backgrounds worked over and obscured through elaborate glazing techniques. Murky bronze, deep wine red, and mat-finish gold are three of the colors applied in flat layers and then stumbled or dribbled to create an impression of hazy irresolution. Against each of

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