New York artist Matthew Brannon's project "Concerning Vietnam," examines the war from a more detached perspective: the offices of those in power at the time and the cockpits of helicopter pilots.
"Concerning Vietnam: Presidential Palace, February 1967" (2017) by Matthew Brannon —
New York artist Matthew Brannon's project "Concerning Vietnam," examines the war from a more detached perspective: the offices of those in power at the time and the cockpits of helicopter pilots.
Courtesy of David Kordansky Gallery, Los Angeles, CA (Photography: Lee Thompson)
A new exhibition of the work opens in September at <a href="http://davidkordanskygallery.com/" target="_blank" target="_blank">David Kordansky Gallery</a> in Los Angeles.
Cropped view of "Concerning Vietnam: Presidential Palace, February 1967" (2017) by Matthew Brannon —
A new exhibition of the work opens in September at David Kordansky Gallery in Los Angeles.
Courtesy of David Kordansky Gallery, Los Angeles, CA (Photography: Lee Thompson)
Brannon's interpretations of the war don't conform to the usual tropes of Vietnam-inspired films and books. His visions come in the form of clean, cartoonish prints.
"Concerning Vietnam: Situation Room -- February, 1965" (2016) by Matthew Brannon —
Brannon's interpretations of the war don't conform to the usual tropes of Vietnam-inspired films and books. His visions come in the form of clean, cartoonish prints.
Courtesy of David Kordansky Gallery, Los Angeles, CA (Photography: Thomas Mueller)
For Brannon this project isn't so much an anti-war statement, but a rumination on the American predisposition towards war. "What I'm trying to say is that this is not protest art. I see myself acting as more of a historian or a biographer, I'm taking one war and trying to understand it, and I'm allowing the viewer to make whatever bridges they can to our contemporary situation," Brannon explained.
Cropped view of "Concerning Vietnam: Situation Room -- February, 1965" (2016) by Matthew Brannon —
For Brannon this project isn't so much an anti-war statement, but a rumination on the American predisposition towards war. "What I'm trying to say is that this is not protest art. I see myself acting as more of a historian or a biographer, I'm taking one war and trying to understand it, and I'm allowing the viewer to make whatever bridges they can to our contemporary situation," Brannon explained.
Courtesy of David Kordansky Gallery, Los Angeles, CA (Photography: Thomas Mueller)
"Why Vietnam?" Brannon pondered on the phone from his studio in New York. "It's such a simple question, but so large. It's really the question that still plagues America and has ripped apart a few presidencies."
"Concerning Vietnam: Bell UH-1D Iroquois, Cockpit" (2016-2017) by Matthew Brannon —
"Why Vietnam?" Brannon pondered on the phone from his studio in New York. "It's such a simple question, but so large. It's really the question that still plagues America and has ripped apart a few presidencies."
Courtesy of David Kordansky Gallery, Los Angeles, CA (Photography: Lee Thompson)
A major theme within these works is the disconnect between the banality of everyday -- the paper envelopes and coffee dispensers on presidents' desks -- and the terrible acts that these innocuous items belie.
"Concerning Vietnam: Oval Office, November 1964" (2016) by Matthew Brannon —
A major theme within these works is the disconnect between the banality of everyday -- the paper envelopes and coffee dispensers on presidents' desks -- and the terrible acts that these innocuous items belie.
Courtesy of David Kordansky Gallery, Los Angeles, CA (Photography: Ronald Amstutz)
Each piece is a silkscreen print with hand-painted elements.
"Chipped Teeth" (2016) by Matthew Brannon —
Each piece is a silkscreen print with hand-painted elements.
Courtesy of David Kordansky Gallery, Los Angeles, CA (Photography: Lee Thompson)
"There's no blood, no burned out buildings, there is something in not beginning from a place of upset that allows for a longer, slower read. I think part of the American consciousness is that we want to know what side everyone is on, we want shorter answers, and I'm interested in complexity," Brannon said.
"Concerning Vietnam: Air Force One, August 1963" (2016) by Matthew Brannon —
"There's no blood, no burned out buildings, there is something in not beginning from a place of upset that allows for a longer, slower read. I think part of the American consciousness is that we want to know what side everyone is on, we want shorter answers, and I'm interested in complexity," Brannon said.
Courtesy of David Kordansky Gallery, Los Angeles, CA (Photography: Dawn Blackman)
"Concerning Vietnam" by Matthew Brannon is on at <a href="http://davidkordanskygallery.com/" target="_blank" target="_blank">David Kordansky Gallery</a> in Los Angeles, from Sept. 9 to Oct. 21, 2017.
Cropped view of "Concerning Vietnam: Air Force One, August 1963" (2016) by Matthew Brannon —
"Concerning Vietnam" by Matthew Brannon is on at David Kordansky Gallery in Los Angeles, from Sept. 9 to Oct. 21, 2017.
Courtesy of David Kordansky Gallery, Los Angeles, CA (Photography: Dawn Blackman)