Door slamming is the ultimate stage exit, often used by emotionally wrought female characters who’ve run out of lines and yet still have something to say, like Nora in Ibsen’s A Doll’s House. This international group show of both men and women—seventeen individual artists plus one duo—seems to celebrate not only the histrionics of this wordless gesture but also the complexity associated with those members of the “fairer sex” who choose to go out with a bang instead of a whimper. And how does that translate into art? The thirty-one works on display combine dramatic appearance with great attention to detail, especially in fabrication and installation. Think big and small, spectacular and delicate, eye candy and eyeliner.
Take Julian Göthe’s Appliqué I (Très Important) and Appliqué II (Très Important), both 2007, which manifest the movement between high theatrics and fine distinctions. The
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