Elizabeth Licata

  • Heidi Kumao

    The subtly confessional spaces between the flickering images that are produced by Heidi Kumao’s zoetropes and the homely objects that surround them held out the promise of catharsis. In the darkened gallery, small islands of moving light guided the viewer to each animated tableau. Rings of projected transparencies were set up on cheap record players with a vintage platter silently spinning. These pieces evoked the late 19th-century practice of using the zoetrope to create precinematic animation within a circular space. In Kumao’s installation, Feed, 1994, images were projected onto various

  • “Photonominal ’93”

    John Rand’s “Bear” portraits—studio shots of hairy, heavyset men—address the need for more diversity in depictions of the ideal male figure, and serve as a document of Bear culture, a subset of gay culture. Juxtapose Rand’s portraits

  • Julian Stanczak

    For over 20 years, Julian Stanczak has been meticulously exploring perceptual abstraction. The artist’s precise linear systems operate well within the rigorous Modernist limits set out by his mentor and colleague, Josef Albers. In Stanczak’s own words, Albers “taught by confrontation anxiety . . . ” When Stanczak first started exhibiting in the early ’60s, his work enjoyed a brief notoriety under the fast-to-fall star of the Op art movement, slipping into relative obscurity when the movement was discredited. This current Stanczak retrospective creates a curious bridge between two contexts: Op

  • Gary Nickard

    Gary Nickard successfully courts two seemingly opposed mistresses in his exhibition entitled “Science as Spectacle.” Indeed, the show’s pristine sterility seems attuned to both the temper of the art market and the imperatives of the laboratory. Not a lab rat is out of place, including the audience.

    Some of the more delicate or dangerous apparatuses in the exhibition are labeled with the words “Please do not touch,” a warning that no one is likely to ignore. Who would dare tamper with these careful displays of tubing, circuitry, and filaments? Ripped out of context, the equipment looks more