{"id":90311,"date":"2015-09-28T18:22:38","date_gmt":"2015-09-28T22:22:38","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=90311"},"modified":"2016-10-05T11:46:00","modified_gmt":"2016-10-05T15:46:00","slug":"skirting-the-issue","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/09\/28\/skirting-the-issue\/","title":{"rendered":"Skirting the Issue"},"content":{"rendered":"<p><em>Six paintings from Matthew Brannon\u2019s \u201c<a href=\"http:\/\/caseykaplangallery.com\/cat\/exhibitions\/matthew-brannon-skirting-the-issue\/\" target=\"_blank\">Skirting the Issue<\/a>,\u201d an exhibition at Casey Kaplan Gallery through October 24. In this series, Brannon uses traditional printmaking methods\u2014letterpress, silkscreening\u2014to depict the domestic and cultural trappings of America during\u00a0the Vietnam War, when he was born: \u201cI had entered a world battered from events that left the country\u2019s identity in jeopardy,\u201d he writes, \u201cand Luce\u2019s concept of the American Century shattered.\u201d Brannon\u2019s work is consumed with the question of \u201chow America is its own worst enemy.\u201d\u00a0<\/em><\/p>\n<div id=\"attachment_90313\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/mb2015-017-bad-check-770x1024.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-90313\" class=\"wp-image-90313\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/mb2015-017-bad-check-770x1024.jpg\" width=\"600\" height=\"798\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/mb2015-017-bad-check-770x1024.jpg 770w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/mb2015-017-bad-check-770x1024-226x300.jpg 226w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/mb2015-017-bad-check-770x1024-768x1021.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-90313\" class=\"wp-caption-text\">Matthew Brannon, <i>Bad Check<\/i>, 2015, 59&#8243; x 42&#8243;.<\/p><\/div>\n<p><!--more--><\/p>\n<p><div id=\"attachment_90312\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/mb2015-008-773x1024.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-90312\" class=\"wp-image-90312\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/mb2015-008-773x1024.jpg\" alt=\"\" width=\"600\" height=\"795\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/mb2015-008-773x1024.jpg 773w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/mb2015-008-773x1024-226x300.jpg 226w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-90312\" class=\"wp-caption-text\"><i>Dominoes<\/i>, 2015, letterpress and\u00a0serigraph on paper with hand painting, 24&#8243; x 18\u201d.<\/p><\/div> <div id=\"attachment_90317\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/mb2015-009-773x1024.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-90317\" class=\"wp-image-90317\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/mb2015-009-773x1024.jpg\" alt=\"\" width=\"600\" height=\"795\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/mb2015-009-773x1024.jpg 773w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/mb2015-009-773x1024-226x300.jpg 226w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-90317\" class=\"wp-caption-text\"><i>Ready or Not<\/i>, 2015, letterpress and serigraph on paper with hand painting, 24 x 18\u201d.<\/p><\/div> <div id=\"attachment_90314\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/mb2015-011-775x1024.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-90314\" class=\"wp-image-90314\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/mb2015-011-775x1024.jpg\" alt=\"\" width=\"600\" height=\"793\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/mb2015-011-775x1024.jpg 775w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/mb2015-011-775x1024-227x300.jpg 227w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-90314\" class=\"wp-caption-text\"><i>Dispatches<\/i>, 2015, letterpress and\u00a0serigraph on paper with hand painting, 24 x 18\u201d.<\/p><\/div> <div id=\"attachment_90316\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/mb2015-0141-784x1024.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-90316\" class=\"wp-image-90316\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/mb2015-0141-784x1024.jpg\" alt=\"\" width=\"600\" height=\"784\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/mb2015-0141-784x1024.jpg 784w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/mb2015-0141-784x1024-230x300.jpg 230w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-90316\" class=\"wp-caption-text\"><i>Safety in Numbers<\/i>, 2015, silk screen on paper with hand painting, 55&#8243; x 42&#8243;.<\/p><\/div> <div id=\"attachment_90315\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/mb2015-015-1024x735.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-90315\" class=\"wp-image-90315\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/mb2015-015-1024x735.jpg\" alt=\"\" width=\"600\" height=\"431\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/mb2015-015-1024x735.jpg 1024w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/mb2015-015-1024x735-300x215.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-90315\" class=\"wp-caption-text\"><i>Camelot<\/i>, 2015, silk screen on paper with hand painting, 59&#8243; x 42&#8243;.<\/p><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Six paintings from Matthew Brannon\u2019s \u201cSkirting the Issue,\u201d an exhibition at Casey Kaplan Gallery through October 24. In this series, Brannon uses traditional printmaking methods\u2014letterpress, silkscreening\u2014to depict the domestic and cultural trappings of America during\u00a0the Vietnam War, when he was born: \u201cI had entered a world battered from events that left the country\u2019s identity in [&hellip;]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[15177,35,19578,3563,19576,4154,19577,12699,13512,176],"class_list":["post-90311","post","type-post","status-publish","format-standard","hentry","category-look","tag-americana","tag-art","tag-casey-kaplan","tag-letterpress","tag-matthew-brannon","tag-paintings","tag-silkscreen","tag-the-seventies","tag-the-sixties","tag-vietnam"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Skirting the Issue: Six Paintings by Matthew Brannon<\/title>\n<meta name=\"description\" content=\"September 28, 2015 \u2013 Six paintings from Matthew Brannon\u2019s \u201cSkirting the Issue,\u201d an exhibition at Casey Kaplan Gallery through October 24. 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