Friday, January 02, 2009

Two Women in Today's NYTimes Art in Review

Lenticular print, 34 x 48 in.
Edition 5/7

In Farida Batool’s photographs, lenticular prints (the image changes with the viewing angle) become a metaphor for complex political realities. In “Nai Reesan Shehr Lahore Diyan (There Is No Match of the City Lahore)” a girl skips rope in front of burned-out buildings — the aftermath of arsons committed by religious extremists. And in “Line of Control” the torsos of a naked man and woman press together to form a border as controversial as the one that runs through Kashmir.

Farida Batool, LINE OF CONTROL (2004)
Lenticular print 34 x 62 in.
Edition 3/7

Keltie Ferris (b. 1977, Louisville, KY) lives and works in Brooklyn. She received a MFA from Yale University in New Haven, CT and a BFA from Nova Scotia College of Art and Design (NSCAD). She has been included in exhibitions at Artspace, New Haven, CT; Jack Tilton, New York; Markus Winter, Berlin; and numerous exhibitions organized by Simon Watson of Scenic. Her work has recently been discussed in L.A. Weekly and Details. She is the recipient of both a Jacob Javits Fellowship and a Rema Hort Mann Foundation Grant. “Dear Sir or Madam” is the artist’s first New York gallery show.

1 comment:

Steven Klein said...

Batool's work sounds interesting. But Lenticular prints don't particularly lend themselves to Internet viewing.

By the way, the comment app is asking me to verify that I am not a bot by typing the word "heabs." Does the app know I'm Jewish? Which brings to mind the recent decision of the Trademark Trial and Appeal Board to refuse HEEB Magazine's ( application to register the mark "HEEB" for clothing and entertainment services on the grounds that a substantial composite of the Jewish community would view the term as disparaging. (See Me? No so troubled. As Jack Welch notes in his summary on the decision, it's interesting to compare the Board's HEEB decision with it's prior holding finding DYKES ON BIKES to be not disparaging.