new-york

Annette Lemieux

New Museum

The subject of memory has been central to Annette Lemieux’s investigations. Her recent exhibition, called “The Appearance of Sound,” consisted of six paintings which use memory as a mechanism to mediate between visual and auditory communication. Lemieux avoids the tired formalist activity of comparing, differentiating, or translating these distinct sensory modes. Instead, she focuses on the associative power of memory to conjure and make concrete the otherwise ethereal and temporal sensation of sound. All six paintings employ nostalgic imagery, which generates familiar associations. Each work comprises a photograph (generally from the ’30s or ’40s) which has been enlarged and transferred to canvas. This surface serves as the background upon which the artist effects a significant transformation.

In Truth, 1989, the central photograph encodes the saying “Hear no evil, speak no evil, see no

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