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    Past Exhibition:

    untitled (conjecture)
    Greg Bruce • Anthony Goicolea • Lori Nix • Melanie Willhide

    September 5 - October 7, 2000

    Opening Reception

    Friday, September 15, 5:30-8:00 pm

    Anthony Goicolea: "Spit or Swallow" print
    Photo credit: Anthony Goicolea: "Spit or Swallow", 1999; c-print. Courtesy of Rare Art Properties, N.Y.

    Upcoming events
    Workshop •
    with Frank Yamrus, Susan Circlio, Katrina Traywick
    Thursday, September, 28th, 6:00-9:00 pm



    Lori Nix print

    Photo credit: Lori Nix: "untitled" from the series Accidental Kansas, 1998; c-print.

     

    Melanie Willhide print

    Photo credit:Melanie Willhide:"untitled", 2000; c-print.

     

    Greg Bruce:"Accident at Tiffanies" print

    Photo credit: Greg Bruce:"Crime Scene", 1999; c-print.

     

    untitled (conjecture)
    Greg Bruce • Anthony Goicolea • Lori Nix • Melanie Willhide

    Curated by Marnie Gillett, Alicia Miller and Frank Yamrus

    San Francisco Camerawork presents untitled (conjecture) an exhibition of constructed imagery which explores in both playful and edgy ways the territory of fear, anxiety and psychological disturbance.

    untitled (conjecture) brings together the work of artists, Greg Bruce, Anthony Goicolea, Lori Nix and Melanie Willhide.
    Greg Bruce’s lighthearted scenes of "tortured" flowers are undercut by the violence done to the sunny Gerbera Daisies and other flowers. He chops, ties and butchers these innocent participants in his mayhem with results that are at once funny and vicious. Similar in tone are Anthony Goicolea’s tableaux of adolescence school boy pranks in which he plays all the characters. Running through the images is a latent sexual energy which clearly fuels the manic antics that ensue in his photographs. What boys will be can be amusing and also deeply disturbing. Lori Nix makes her anxieties manifest in her artful recreations of disaster scenes. Filled with the looming drama of simple terror, the fear evoked in her images is overwrought and neurotic, reminiscent of 70s disaster flicks. Planes careen into farm fields, nuclear reactors melt down, trains derail–it is a world awry and out of control. Moving into darker realms, Melanie Willhide’s mysterious images hint at hidden obsessions and sexual deviance without ever revealing any explicit evidence of such things. The "action" of her images is lost in ambiguity, suggesting an anonymous hermetic realm of unleashed fantasies one can only imagine.

    As conjecture fills the mind, the effect of these collected works is unsettling and uncomfortable.



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