He came flying back from a brook waving his garment bannerlike
. He was swelled with a tale he had heard from a reliable friend, who had heard it from a truthful cavalryman, who had heard it from his trustworthy brother, one of the order- lies at division headquarters.
This domination of language is emblematized by the soldier who washes his shirt and comes "flying back from a brook waving his garment bannerlike
." (13) Like a newspaper hawker, the soldier washes the slate (his shirt) clean at the beginning of the day, gains new headlines, and heralds the daily news "to a group in the company street." (14) The men even abandon the "negro teamster," signifying the abandonment that occurred during Reconstruction.
Five mural-size, bannerlike
paintings hung on the walls of the gallery; interspersed among them were columns of framed black-and-white photographs, found at flea markets and antique stores, depicting anonymous individuals and couples young and old.
At start-up the upper, bannerlike
picture shows the standard binocular view of Jupiter and its four Galilean moons running in real time.
Inevitably, the expressionisms of the early work yield to a surface and treatment that might almost be perceived as austere but for the playfulness of arrangement, the witty internal references of form to form and the bannerlike
boisterousness of the color.
With a trajectory of influence that extends from Sigmar Polke's early paintings on cheap fabrics and Blinky Palermo's fabric paintings from the mid-1960s and the early '70s, through Martin Kippcnberger's checkered "price" or "prize" paintings ('Preis Bilder," 1 987-94), von Bonin's bannerlike
works often feature gnomic fragments of borrowed text alongside cartoonish figures; in Hand von rechts, the patchwork backdrop foregrounds--in white stitched outline--a band of simian musicians perched atop mushroom caps, the balled fist of an entertainer's white-gloved hand, and the phrase HARMON1E IST EINE STRATEGIE ("harmony is a strategy"), which has been crossed out.
The former's bannerlike
paintings each served up an enigmatic abundance of nearly fifty sketchy images, ranging from sportsmen and puppeteers to cats taking tea, but the works failed to offer viewers adequate incentive to muddle through their overwhelming accumulations of incongruous imagery.
(White Square), 1998, a small canvas consisting of enameled rectangles of color in a lateral, bannerlike
rhythm interrupted by a single insistent white square.
Notwithstanding the wealth of texts accompanying them, the stylized images and their theatrical display (including three photomontages printed on cloth and suspended bannerlike
under the dome) seemed singularly inappropriate to their subject.