Dan's Papers - December 21, 2007 - Art Commentary With Marion Wolberg Weiss

Part 1: Michael Knigin's "Survival of the Spirit" at The Anne Frank Center, USA

That most material devoted to Anne Frank is usually relevant and always moving is proven once more with Michael Knigin's pigmented inks on canvas at The Anne Frank Center in New York.

While Mr. Knigin has an authentic grasp of his materials and techniques, it's the composition that's particularly intriguing. Using juxtaposition of bold imagery and a background-foreground configuration are nothing new for this artist, yet his current series involves more complex relationships and meanings. In fact, the interpretation of such meanings can be determined by semiology (the system of signs). Simply put, signifiers (objects) generate (signify) an effect (signified).

Consider "Gone for the Day," where children (signifier) are seemingly waiting in the foreground for something to happen (perhaps the arrival of a train taking them to a concentration camp).

In the background is a colorful superimposition of an abstract sky/landscape. The contrast between the black and white reality of the children and the dream-like imagery suggests that their fate will not be a glorious one (signified).

"Strong Vibes" features background-foreground composition as well, with three Jewish women (in black and white) walking toward the viewer, away from images of hope: a bright yellow sun and a red sky.

This theme of reality vs. fantasy, between what the Jewish people wanted to be true and what was actually true is consistent throughout Mr. Knigin's series. Take another example like "Sanctuary" where Anne Frank's photo is positioned at the bottom of a staircase (the one leading to the family's Amsterdam hideaway). The photo is black and white while the stairs (and the images seen beyond it) are flowing with color. The inference is that the top of the stairs (signifier) does not lead to safety from the Nazis, but to death (signified). Another bottom-to-top idea ("Salvation") features victims in a concentration camp, the ladder-like dormitory beds creating a multi-tier configuration: the higher one goes, the closer to Hell.

Mr. Knigin employs other recurring concepts like fragmentation,where central characters, like Anne Frank, are separated from the setting or landscape (background), evoking alienation and isolation.

Finally, his superimpositions are stunning, suggesting not only layers of meaning but also the complexity of survival and the human spirit.

"Survival of the Spirit" will be on view at The Anne Frank Center, USA (38 Crosby Street) until January 11, 2008. Call 212-431-7993.