Francine A. Koslow

  • Michael Corris

    Michael Corris has created a series of provocative pieces here that suggest a departure from his recent layered images of bar graphs. The focal piece of this show, entitled “Reading by Candlelight,” was Marxism and Problems of Linguistics, 1989. The work consists of 11 bundles of shingles that serve as the base for a silver candelabra and a copy of a text by Stalin; the latter is embedded in colored wax and mounted on a wood block. The paraffin which covers the pamphlet is joined with strings that serve as wicks and transform the object into a votive candle. The wood shingles act as both platform

  • Bryan Hunt

    This selection of three small sculptures and ten drawings, executed between 1986 and 1989, is further evidence of Bryan Hunt’s facility for combining the languages of abstraction and figurative representation. No longer concerned primarily with the waterfall configuration, Hunt frequently places figures in geometric settings. His sculptures, in particular, are becoming increasingly anthropomorphic and metaphysical in character. In Astronomer, 1986, a thin cast-bronze figure with a loop on its lap sits on a chair. The figure balances above it a tiny bronze orb placed on a cylinder, suggesting a

  • Howardena Pindell

    Howardena Pindell’s art is both formally elegant and politically savvy. The works here span a variety of mediums: tough and dramatic photo-based pieces; text-laden paintings; and small-format collages created primarily from photographs and postcards. Most of the works have hard-hitting racial messages and the raw power of convictions deeply felt.

    Autobiography: Air/CS560, 1988, is a moving example of the power of Pindell’s commitment to social protest. The work combines a number of media (acrylic, tempera, oilstick, paper, polymer photo transfer, and vinyl tape) on an irregularly shaped, cut-and-sewn

  • Harold Tovish

    Two concurrent exhibitions of Harold Tovish’s work showed this veteran artist still to be relevant and committed to change. The Addispn Gallery retrospective, the first comprehensive survey of Tovish’s art to be assembled since his 1968 exhibition at the Guggenheim Museum, contained over 100 works dating from 1948 through 1987, including sculpture, drawings, and prints. The Howard Yezerski Gallery housed a companion exhibition of 16 ink and charcoal works on paper, created in the last two years, and based on the theme of hands. Both shows emphasize the artist’s overwhelming concern with the

  • Judy Haberl

    Judy Haberl’s puzzle paintings combine found objects, paper, and paint to create dense objects that pose playful questions about the nature of appropriation. Haberl’s Rauschenbergian fantasies juxtapose kitschy artifacts with a more personal vision of reality. Her earlier works included jigsaw-puzzle reproductions of paintings by masters of Modern art; the 11 new collages contain jigsaw-puzzle images of traditional landscapes, still lifes, and nature studies. The puzzle pieces investigate the possibilities that arise from reconstructing banal puzzle parts so that they become something dramatic

  • Sam Messer

    Sam Messer’s heavily painted canvases manage to evoke the mythical sensibilities of Jackson Pollock’s work of the early ’40s, and at the same time call attention to their contemporary self-conscious expressionism. The predominant colors in the artist’s recent paintings are red, black, yellow, and white: they are applied with fleshy bravura. The works show a maturing artist contributing to a revival of gestural painting with symbolic figuration. Messer’s sense of the macabre is balanced by a penetrating black humor. Look into the Future, 1988, depicts a very pregnant nude holding a mirror in one

  • John O’Reilly

    John O’Reilly’s black and white Polaroid collages are intelligent combinations of art history’s past and O’Reilly’s personal fantasies. His most recently constructed inventions juxtapose images of classical male statuary, paintings by Caravaggio, and photographs by F. Holland Day and Wilhelm von Gloeden with nude self-portraits. These curious blendings of past and present, culture and commonplace, are contained in elaborate interior studio sets designed by O’Reilly. All 23 collages exhibited here have been carefully layered to create a contemporary magic-realist space. The pieces resemble whole

  • Mimi Gross

    Long known for her collaborative installations with ex-husband Red Grooms and as the daughter of sculptor Chaim Gross, Mimi Gross has come into her own in an exhibition of six constructed reliefs and one large drawing. The large painted-wood triptych, Parnassus, after Raphael, 1986, is a playful parody of Raphael’s famous Vatican fresco and contains 26 individuated figures divided into three separately constructed groups. With her witty and theatrical touch, Gross replaces Raphael’s soft elegance, atmospheric perspective, and academicism with her own educated roughness of proportion, scale,

  • Mary Sherwood

    Mary Sherwood’s lushly painted fantasy landscapes are nostalgic and lyrical pastiches of paintings from the 16th through the 19th century. Images are borrowed from art history and reformulated into reflections on nature and culture. Nine of the ten oil paintings, all from 1987–88, are divided into two series, entitled “Birds of Fiction” and “Myths of Progress.” The former are large landscapes on canvas that integrate imaginary allusions to Baroque and American Romantic art, and the latter are landscapes painted on wood with square insets of details from Dutch and Flemish paintings. In this uneven

  • Russell Floersch

    Russell Floersch’s elegantly painted surfaces combine ghostly references to commercial real-estate advertisements with virtuoso graphic and painterly techniques. Brooklyn-based Floersch is subtly political in his fragmented, faded graphite drawings of seductively ornate estates and poolside vistas that appear on small plaster areas of otherwise abstract paintings. He has developed a collage style based on the image, logo, typeface, and design of selected real-estate ads in the Sunday New York Times. Slick titles such as Bella Vista and Belvedere, both 1987–88, derive directly from the inflated