AboutâOver the years, Brauntuch has presented so many moments: big and small; his own and the world´s. A dead pit bull
on the sidewalk, shot after an attack, the fur on the top of its head soft, vulnerable. The Pan-Am disaster in 1990.
The Long Island Rail Road Shooting in 1993. Sarajevo. Empty shoes. His wife, in 1984, sleeping. A dry-cleaning shop
window. A handprint. If the list seems incongrous, some elements of it less easy to figure with precision than others,
there is nonetheless an uneasy alliance between them, a palpable resonance that has to do as much with what´s
not being shown as what is offered to the eye.â
- Johanna Burton, Familiars: On the Work of Troy Brauntuch