Colin Gardner

  • Roger Herman

    Roger Herman employs the stylistic vocabulary of German Expressionism as a distancing device for a more conceptual exploration of painting itself. Yet whereas artists such as Anselm Kiefer and Markus Lüpertz envelop this critique within the context (read “neurosis”) of recent German history and myth, Herman pursues more overtly autobiographical and philosophical themes. He is, in many ways, an alienated romantic, asserting his faith in pure expression through painting, while simultaneously questioning the viability of the image in an age of media appropriation. He is very much like an artisan

  • Richard Sigmund

    The open road, with its aura of freedom, of the ongoing experience of life, has always been a powerful metaphor in literature and the visual arts. Richard Sigmund’s paintings self-reflexively synthesize (and simultaneously deconstruct) this tradition of road iconography and Action Painting’s gestural gestalt. At first glance, the works appear to be trompe l’oeil scale renditions of street fragments, or linear depictions of anonymous highways receding into the amorphous mists of time. Through tight framing, isolated symbolism, and geometric composition redolent of Kasimir Malevich or El Lissitzky,

  • Serge Spitzer

    Serge Spitzer is a Romanian-born Minimalist who currently divides his time between jerusalem and West Berlin. Although his installations owe obvious debts to such reductive purists as Carl Andre and Richard Serra, Spitzer’s sensibility seems more closely aligned with the humanistic and socially conscious tenets of the Russian Constructivists and, more recently, Joseph Beuys. Spitzer’s work is about seeing and observing, whereby the eye acts as a mediator between complex conceptual issues. The association between object and one’s experience of it sets up territories and coordinates that may then

  • Lari Pittman

    Lari Pittman’s paintings have always exercised a provocative dialectic between the apparent frivolity of decoration and its undercurrents of eroticism and decay. Until recently, Pittman refrained from any clear painterly synthesis, preferring to stress the helter-skelter of cultural heterogeneity through collage and assemblage. A baroque sensuality and the inevitability of death vied with ’50s coffee shop kitsch to create works of enigmatic optimism, their dark underbelly counterbalanced by a sanguine sense of endurance.

    Pittman has sustained this dialectic in his new work, pitting the liberating

  • Douglas Huebler

    Conceptual artist Douglas Huebler began “Variable Piece no. 70,” his all-encompassing work in progress, in 1971. His stated intention was to “photographically document, to the extent of his capacity, the existence of everyone alive in order to produce the most authentic and inclusive representation of the human species that may be assembled in that manner.”

    The recent phototext series “Crocodile Tears,” 1985, is part of this broader proposal; it is a wry and often very witty attempt to evaluate contemporary human existence by focusing on clichéd behavior patterns, cultural ideologies, and the

  • Georges Rousse

    Perhaps the most significant esthetic innovation of the early Renaissance was the emergence of perspective as the central tenet of European art. Instead of a flat picture plane on which religious subjects were arranged hierarchically beneath an all-seeing God, “reality” was focused on the eye of the beholder as if it were a beam of light. Esthetics, paralleling the simultaneous rise of humanism and merchant capitalism, came to express a reciprocal relationship between the timelessness of the image and the fixed position of the viewer.

    The subsequent invention of the camera (film theoretician

  • Richard Sedivy

    Like many of the New Image painters of the ’70s, Chicago-born Richard Sedivy emerged from the reductive exercises of Minimalism. His early work consisted of series of broken masonite that explored fundamental Minimalist issues such as sequential format and frontality. Since then, Sedivy has branched out into more image-oriented issues, in particular the ideology of the language of representation and the role of sign and symbol in pictorial composition.

    His current paintings depict common objects and architectural form (pillars, post-and-lintel supports) against lush, almost romantic “landscapes”

  • Ron Cooper

    Ron Cooper is well-known for his fascination with light and altered perception and their relationship to classical renditions of the human figure. His early Plexiglas/resin “light traps” of the late ’60s aligned him with such light-and-space artists as Larry Bell and Robert Irwin. But since 1974 Cooper has focused on the manipulated photographic image and on ceramics, metamorphosing human detail and traditional modes of representation into process-related investigations of time, movement, light, space, and perception.

    Cooper’s first photographic experiments consisted of computer-enhanced images

  • Maxwell Hendler

    There has always been a strong ironic Pop vein running through Maxwell Hendler’s work, ranging from the painstakingly realistic still lifes and landscapes of the ’60s to more recent explorations of language as sign and icon. The early paintings and watercolors were small, almost obsessive studies of mundane objects and deserted, rundown city streets. Hendler’s intense concentration on his subject, combined with a strong clarity of representation, imbued each piece with such a private esoteric importance that the work appeared overly synthetic on the one hand, dreamlike and romantic on the

  • Alexis Smith

    Alexis Smith’s new series of collages is collectively titled “Jane,” 1985, and consists of juxtaposed fragments from the memories and myths associated with famous Janes of film and literature. As usual, Smith’s source is mass-media and pop-culture imagery from the late ’40s and ’50s: maps to movie stars’ homes, key rings and costume jewelry, old newspaper clippings, painted neckties, and pieces of fabric. The fragments are then tied together loosely by a text —isolated phrases and sentences which allude to, but refuse to embody, a wider narrative.

    Smith’s strategy is to accentuate the paradoxes