![]() Snow White watches emotionlessly as the Evil Queen is tortured and killed as punishment for her jealousy. Broom's sources are the original stories by the Brothers Grimm and others, whose content is often more, well, grim. It's often considered the most feminine of sins, the distaff version of wrath."īroom's world is more startling than in the Disneyfied versions of these tales. "Of all the sins, it's the most internal, a psychological state," said Bart Bland, who curated the show and conceived the idea for the entire seven-exhibit collaboration. Photographs by Adrien Broom, whose studio is in New Haven, depict heroines, heroes, villains and villainesses of classic folklore about stepsisters, stepmothers, servants and brothers who resent what others have.ĭespite this, covetousness is not easy to interpret visually. The museum places its chosen misdeed in a milieu where it thrives robustly: fairy tales. Have we provoked nature?"Īt the Hudson River Museum in Yonkers, N.Y., Envy is different from the "Wrath" exhibit in that it bears no resemblance to the ravages of the real world. "Is this the wrath of God? Is God angry at us? Or at the world?" she said. McGregor says interpretations may vary in how to construe all this. Alexis Rockman's oils-on-paper picture nondescript landscapes loomed over by inexplicable oncoming cataclysms. The destructive power of ocean storms are suggested, rather than spelled out, in Brian Novatny's oil-on-shellacked paper paintings of maritime disasters. Diane Burko's oils-on-canvas are based on aerial views of a volcano and a polar cyclone. Anne Peabody's "Wildfire" envelops a marble fireplace with sculpted copper, wood and glass flames. Tameka Norris' "Bernadine," a tattered, painted quilt, evokes the destruction of Hurricane Katrina. ![]() Brian Adam Douglas' painstakingly applied painted paper collages portray the chaos following a flood. Julie Heffernan's fantastical oils depict worlds carrying on after a seeming apocalypse, with snapping wolves and heavily armed survivors. Decay is the theme of Jon Rappleye's acrylic and spray paint-on-paper drawings, which show human beings in stages of rot, skeletons with mottled flesh and bones turning into wood inhabited by vermin.
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