Artforum, 1990
Bernard’s strategy entails a two-way deconstruction. By draining the original film’s mise-en-scéne of all narrative and semiotic connections, Bernard familiarizes the filmic through reprivileging the...
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Ask the Dust, Richard Kuhlenschmidt Gallery, 1990
…I’m thinking, time for a beer, just as every cloud in the sky leaves me with nothing to think about but an infinity of the...
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Security Envelopes, Naschshub (Supply), aka The Köln Show, 1990
April 24 – May 26, 1990 Nine Cologne based galleries participated – a 50 part version of the Security Envelope grid was exhibited at Monika Sprüth in Cologne....
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Security Envelopes, Whitney Biennial, 1989
…This enlarged isolation lays bare the pattern’s indirect kinship with various kinds of modernist abstraction., from gesturalism to the rough-hewn geometric patterning of Jasper John’s...
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American Art Today: A View from the Whitney 1989 Biennial Exhibition
Recorded the (very early) morning after the opening. So young. And hungover. At 18:20.
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Flash Art, Summer 1988
Marc Selwyn: How important is it for the end product to be beautiful in the conventional sense, or at least invoke a mood, to have...
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Christopher Knight, Herald Examiner, 1988
Cindy Bernard’s black and white pictures call upon the twin traditions of documentary and of straight photography. With the critically analytic hand of a conceptual...
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Fabric Photos, The Spiral of Artificiality, 1987
Cindy Bernard uses the photographic closeup to comment on painting. Bernard’s black and white images of fabric patterns from dresses, suits and remnants recall the...
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Fabric Photos, Room 9, 1987
From the press release, co-authored by Cindy Bernard, Martha Godfrey and Liz Larner, February 1987 Local artists Martha Godfrey, Cindy Bernard and Liz Larner will...
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