Margo Leavin Gallery
Once known for tightly plotted, high-concept musings on the ongoing annexation of everyday life by the entertainment industry, Cindy Bernard has more recently converted to the (quasi-)formalist cause. For an artist whose formative years were spent Greenberg bashing, this may come as either a surprising case of pent-up desire finally released or as a concession to the dictates of fashion. In actuality, it is probably a little of both. Like many of the ’80s generation, Bernard has no doubt felt firsthand the confining effect that “issues” can have on art, and her decision to strike out for less-predictable terrain is well taken. That she has wound up in the general category of “sound art” also makes sense: For artists eager to channel the avant-garde spirit of experimentation, this is as good as it gets.
There are two sides to Bernard’s current practice. The founder and director of the
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