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artscope magazine: November/December 2009
Welcome Statement: Brian Goslow, managing editor
Letters to the Editor
roundtable - Three Professionals. One Question.
cornered: a conversation with an art exhibition attendee
FEATURED ARTIST CHARLIE HUNTER - The Humor of Decline, Memory, and Time
FEATURE: DAMIÁN ORTEGA DOES IT AT THE ICA
ADRIA ARCH: GLYPHOLOGY
NO MAN'S LAND: BONNELL ROBINSON AND DANA MUELLER
SKIPPING, SPLASHING, AND PLAINTIVE - THE WEIGHTY WORKS OF CASEY ROBERTS
SACRED MONSTERS: EVERYDAY ANIMISM IN CONTEMPORARY JAPANESE ART AND ANIMATION
DEEP SPACE: KATHLEEN CAMMARATA
FEATURE: MRS. DELANEY AND HER CIRCLE
Connecting the Dots... The Warhol Legacy
INNER CITY at RISD
EXPANDING THE POSSIBILITIES: New England Watercolor Society Regional Show
THE ART OF DEVOTION: Panel Painting in Early Renaissance Italy
FABRICATING TIME: ALICE SPENCER
MIGRATIONS: New Directions in Native American Art
wanderlust - Historic and Contemporary: Portland, Maine's Art Scene
Industry focus: A Moldmaker's Mecca - Reynolds Advanced Materials
BOSTON THEATER: A 2009-2010 SEASON PREVIEW
PECHA WHAT? PECHA KUCHA, WORCESTER
Capsule Previews
NO MAN'S LAND: BONNELL ROBINSON AND DANA MUELLER
Brian Goslow

Art Institute of Boston Gallery at University Hall

1815 Massachusetts Avenue
Cambridge, Massachusetts


November 5 through December 5

USING THEIR CAMERAS, TWO ARTISTS SET OUT ON PERSONAL JOURNEYS TO RETRACE STEPS AND TO VISIT PLACES WHERE A FATHER AND A GRANDFATHER'S PASTS BECAME BRIDGES OF COMMONALITY BETWEEN TWO DIFFERENT WORLD WARS.



Separately, each artist came upon an incongruous serenity where the passage of time had become complicit in silencing the horrors of war. The dissimulation of killing fields and prison camp locations — the creation of seemingly peaceful landscapes — makes for a thoughtprovoking exhibition of two dozen photographs titled: “No Man’s Land.”



Bonnell Robinson’s images come from the Western Front (France, Belgium) and the Italian Fronts (Austria, Slovenia) of the Great War, which raged from July 1914 to November 1918, and had a final tally of 9,991,000 soldiers dead from combat, and approximately another 27 million wounded or missing in action.



Robinson said her grandfather survived WWI, but could not speak of it to his family for the rest of his life. It was reading his detailed diary that compelled her to examine those places, inducing sustained reflections within her on all wars since that war. Robinson said she’s nearing 60 years of age; her work is to be viewed as a connection to the past, a focus on certain visual evidence of war memories as retrospective documentation.



It’s clear that Robinson has an entrenched personal view that wars are utterly futile and end as tragedy: death’s feast.



Dana Mueller’s images are of locations that once were WWII prisoner-of-war campsites, constructed between 1943 and 1945 throughout the United States. They held 500,000 German soldiers captured in battlefields, many of them from North Africa and Normandy, and marching under General Erwin Rommel’s command.



Mueller immigrated to America from Ernstthal, East Germany where three generations of her family survived hardship from the ravages of war and its fallout; this has made her keen on using her art to illustrate the complexity of human experience not adequately captured in




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