With the specter of fascism all around us again, the bellowing confrontation in Judith Bernstein's work, a combination of wit and outrage, is nothing if not timely.
The word “gasligting” is slathered across several of them, its misspelling intentional. You wonder for a moment, “Is that a flub?” Or is it deliberate and therefore meaningful?
The letters are jammed in among gaping eyes and open mouths of sometimes skull-like heads. Other paintings insert the word “Trumpenschlong” amid the pictorial chaos, decorating the invented but pertinent vulgarity with vivid swastikas. Others stipulate “We Don’t Owe U a Tomorrow,” insisting that taking control of the present matters most.
Gaslighting is calculated emotional abuse designed to make a person think they are losing their sanity. Bernstein’s simple, clever insertion of linguistic doubt resonates amid the visual noise produced by her fluorescent palette of shrieking red, screaming yellow and bombastic blue. The color is made even more vivid when set against flat fields of inky blackness, crumpled azure grounds suggestive of 1960s protest era tie-dye or, in one room, heightened by black-light illumination.
Gaslighting is now part of the conversational lexicon about life today, with women often its immediate receptors.— raw art — the work of the mentally ill, children, convicts and primitive artists, which kicked Modernist conventions to the curb in the aftermath of gruesome World War II. With the specter of fascism all around us again, the bellowing confrontation in Bernstein’s work, a combination of wit and outrage, is nothing if not timely.
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