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New Yorker Review: Jörn Vanhöfen at Robert Mann Gallery

Posted By Administration, Tuesday, April 24, 2012
Updated: Monday, January 6, 2014


Through May 5

The grand frames of Jörn Vanhöfen are quiet and sullen, sublime but not absent of hope. The title, Aftermath, suggests the moments of fall-out after a major event, a sense of consequence in reaction to an action. The mark of man is so clear and often cutting in the landscape that there is something decidedly human about the presumed error of the Aftermath work.

The stillness of the frames is unsettling, often we feel like the lone observer- but small signs of life exist- smoke puffs from a chimney in Zurich, humanity bustles in the wake of the day on the Chicago Market, graffiti litters the walls in Madrid. Nature and culture are at odds in the post-New Topographic landscapes; frames borrow and play with a Romantic sense as they cut and infuse frames with a 21st century sensibility and concern: a once-grand ship rots in harbor, a beautiful alpine vista is slashed by an elevated freeway, the balcony of a vacation retreat decays as a once elegant mountainscape is stripped for resource. A process, an approach, a philosophy is suggested in this work; while all has not yet been lost we are presented with a world that is far from pristine. Vanhöfen travels far and wide charting "the effects of social drives that have globally propelled development and the pursuit of wealth." The work balances glut and greed against elegance and endurance. The scars are deep, and while the ability for healing still seems possible, this work calls for a sobered reflection on the human state and acceptable action.

For more information on the series, please visit Robert Mann Gallery

New Yorker Review

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