Warm in the Shadows

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"Mask of the Red Dawn" , 2009 Foam Core, Bondo, Enamel Paint, Led Lights 21"X24"X19"
Warm in the Shadows
Curated by: Duane Bruton

20 Meadow Street
Brooklyn, NY 11206
October 10th, 2009 - October 10th, 2009
Opening: October 10th, 2009 7:00 PM - 9:00 PM

mixed-media, installation, performance, pop, surrealism, modern, sculpture
Free till 9.


October 10th is the opening party
for the show Warm in the Shadows,
at Shea Stadium, 20 Meadow St.
btwn Waterbury St & Bogart St  | Williamsburg, Brooklyn | L Train to Graham

++Performances by

++Artist Include
Alex Winter | Amanda Browder |Casey Farnum
Dan Taylor | Elena Wen | Jacob Williams

When the premise of a show is apocalypse gloom and doom will frequently
be the leitmotif, but in the case of Warm in the Shadows the end of days is one big party. 
The artists in this show are preparing for their last moments with excitement, suspense
and even joy. If you’re going on a trip to nowhere Amanda Browder’s luscious plush ship
is a good way to get there. What some call every day life still has a hold on most people,
and Elena Wen’s cryptically witty animations engage the viewer in the heavily empty
motions of that every day life.  In complement to this are Alex Winter’s collages, made up
of culturally significant and disturbing images along with clippings from national periodicals.

In tune with the performance aspect of the show Jacob Williams offers elaborately painted
backdrops before which his creations, mech-headed human-bodied bat-winged monsters,
posture and pose.  Dan Taylor presents sculptures made of hybrid taxidermy, the bastard
child of botany and zoology preserved in full color and far more real then anything you could
see at the Coney Island Freak Show.  Ushering in the musical component of the  show
Casey Farnum will emerge from his protective elemental pyramid, and start up the band.

The idea of celebrating the inevitable demise of all things is nothing new, and yet it seems so
specific to this day and age.  From Mantegna’s “Lamentation of Christ” to Hirst’s “Shark”, from
Kandinsky’s idea of Apocalypse as rebirth to Anselm Kiefer’s depictions of bombed England,
our fascination with death, decay and the end of all things is a cultural trait.  Today, in this
age of filthy lucre and frivolity, it is only appropriate to celebrate that which may, perhaps
hopefully, bring this all to an end.