Characters, All
Tiger Strikes Asteroid New York is pleased to present Characters, All, a group exhibition featuring the work of the Boston University MFA Painting Class of 2021.
鈥淭he times endured of late have been unique. Shifts in our world have occurred. Rifts have formed鈥攕ome of which have been healed, some shoddily repaired, and others have only deepened. What may be most dangerous is the dissolution of a stable or reliable sense of reality. Search engines that monopolize our information streams, once alleged to be objective devices, now present us with confirmation biases based on their algorithmic estimations of our beliefs and affinities. Fear-mongering seems to have become indistinguishable from total chaos.
The word 鈥榰nprecedented鈥� has lost its meaning as we strive to make sense of new types of unravelling and strife. These conditions have been the empirical backdrop for these 16 artists during their graduate studies. Whether addressing them directly or not, each artist has been forced to reckon with these conditions as a fact. Of the world. Of both their lives and their collective experience as a cohort. Some have chosen to face them head on while others have done the opposite and used their practice as a form of escapist resistance. In all capacities, these artists have used the potential of painting as a multivalent tool to respond to a time of great turbulence: its potential to tell stories, its potential to soothe, its poten- tial to imagine the new or re-imagine the old.
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Tiger Strikes Asteroid New York is pleased to present Characters, All, a group exhibition featuring the work of the Boston University MFA Painting Class of 2021.
鈥淭he times endured of late have been unique. Shifts in our world have occurred. Rifts have formed鈥攕ome of which have been healed, some shoddily repaired, and others have only deepened. What may be most dangerous is the dissolution of a stable or reliable sense of reality. Search engines that monopolize our information streams, once alleged to be objective devices, now present us with confirmation biases based on their algorithmic estimations of our beliefs and affinities. Fear-mongering seems to have become indistinguishable from total chaos.
The word 鈥榰nprecedented鈥� has lost its meaning as we strive to make sense of new types of unravelling and strife. These conditions have been the empirical backdrop for these 16 artists during their graduate studies. Whether addressing them directly or not, each artist has been forced to reckon with these conditions as a fact. Of the world. Of both their lives and their collective experience as a cohort. Some have chosen to face them head on while others have done the opposite and used their practice as a form of escapist resistance. In all capacities, these artists have used the potential of painting as a multivalent tool to respond to a time of great turbulence: its potential to tell stories, its potential to soothe, its poten- tial to imagine the new or re-imagine the old.
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