Francine A. Koslow

  • Mayer Spivack

    Mayer Spivack’s quirky neo-Surrealist assemblages of found and fabricated objects track the development of this reclusive artist’s highly personal vision from 1954 to the present. The 14 sculptures presented here are divided for the purpose of this show into “Shrines” and “Golems.” The nine shrines physically and thematically resemble small altarpieces, while the five golems are totemic and idolized. All address issues of ritual and fetishism, and like the best works of H. C. Westermann, they play the anthropomorphic, the inanimate, and the organic off each other with a combination of wit and

  • Emmett McDermott

    In Emmett McDermott’s clever and irreverent collages of popular media images, this post-Pop artist couples photomechanical and painterly techniques by collaging color Xerox enlargements of magazine photographs onto softly modulated translucent acrylic grounds. Every image is positioned within a larger square and is neatly punctuated with subtle, meticulously positioned rectangles that bespeak the artist’s sense of design. In McDermott’s precise collages, he laminates modified celebrity and advertising images taken from publications such as People, Time, and Vanity Fair, frequently coupled with

  • Yanick Lapuh

    Yanick Lapuh makes his debut solo show with an impressive selection of ten abstract diptychs that consist of canvases mounted on wood. Lapuh is a master of illusion, employing diagrammatic variations based on the cube. Each diptych consists of panels of contrasting muted color, texture, and shape. In a number of works, the cube appears on the right panel as a series of precisely etched lines on a flat ground. This simple, geometric form is juxtaposed with a left panel, sometimes square and sometimes repeating the contours of the right portion, covered with strips of wood that protrude from the

  • Louise Lawler

    For the second installment in the Museum of Fine Art’s ongoing “Connections” series, wherein various artists are invited to organize installations based on their personal selections from the institution’s collection, Louise Lawler chose to present a collection of thimbles and a selection of still-life paintings along with her own photographs and placards. With the assistance of museum curators, a staff photographer, and two NEA interns, Lawler mounted four room-size installations. Repainting the gallery walls pink, ivory, and white, she juxtaposed the various found objects with photographs and

  • Chuck Holtzman

    In this exhibition, Chuck Holtzman has proved himself at home working on large-scale sculpture while maintaining the sense of finesse and miniaturist craftsmanship that characterized his tiny constructivist manipulations of hand-cut wood and accompanying charcoal drawings. Typically six feet in height and composed of at least 250 pieces of wood each, the four sculptures exhibited here consist of various geometric configurations of raw wood, touched in places with white spackle, acrylic, and charcoal pencil, and held together by screws and nails, which punctuate the saw-cut surfaces. Holtzman’s

  • Gregory Gillespie

    The 28 meticulously crafted paintings, drawings, and monotypes that comprise Gregory Gillespie’s recent exhibition reveal the artist’s obsession with detail, trompe l’oeil illusionism, and haunting devotional symbolism. The majority of the works, created with oil and alkyd acrylic on board, employ old master techniques to achieve realistic effects. The smooth surfaces and precise contours in pieces such as Godmother Shrine, 1990, Portrait of Itchy, 1988, and Manger Scene, 1987–88, suggest Northern Renaissance painting, while the complexity of imagery and unusual juxtaposition of objects in

  • Ellen Banks

    Ellen Banks’ most recent exploration of contemporary synesthesia consists of a series of “Improvisations” (all works 1990) in the form of minimalist grids derived from the piano and vocal scores of Johannes Brahms. Three small mixed-media works on paper, entitled “Waltzes,” feature horizontal grids of acrylic, the color and geometric structure of which are derived from Brahms’ Opus 39. Two artist’s books, or “Songbooks” containing 12 and 25 pages are based respectively on Brahams’ songs “Dein blaues Auge” (Your blue eye) and “Bei dir sind meine Gedanken” (My thoughts are with you). Each handmade

  • Marjorie Moore

    Marjorie Moore investigates the duality of innocence and corruption in a series of canvases and works on paper that anthropomorphize real and fantasy animals. Along with 13 paintings and mixed-media assemblages, Moore presented a two-monitor, two-channel video installation, made in collaboration with videomaker Huey Coleman, dancer Nancy Salmon, and singer Miriam Barndt-Webb. Entitled Canis-Canis, 1987, the work juxtaposed images of a caged coyote and shots of the artist parading about, smothering herself in fur pelts. Two separate monitors were set on wooden dressers with drawers bursting open

  • Henry Schwartz

    This 80-work retrospective of veteran Boston painter Henry Schwartz was the first comprehensive view of the artist’s forty-year career. Fantasies in oil, dating from 1951 to the present, combine absurdist wit with a poignant retrospective look at 19th- and 20th-century history. Music is the spiritual center of Schwartz’s expressionistic figurative art, which frequently takes the form of portraits of famous composers, writers, and philosophers. (Schwartz’s bespectacled self-portrait often appears in the company of his fantasy alter egos Mozart and Mahler.) Amply endowed nudes, cultural imagery,

  • Aaron Fink

    This exhibition of 15 works marks the first show devoted entirely to Aaron Fink’s counterproofs. By laying paper down on wet painted canvas and pulling it off, Fink produces what he terms a “counter-image.” The works exhibited here contain Fink’s signature centered images of mundane subjects ranging from a hat to a candle flame to a bunch of hanging grapes. All of the works combine encrusted layers of paint with fluid areas of black ink to create rich, moody surfaces. Their subject is the tension between the illusion of the object and the physicality of the paint.

    In Apple, 1990, a work that

  • Suzanne Vincent

    In Suzanne Vincent’s recent exhibition, meticulous detail lends her familiar portraits and still lifes an eerie sense of metaphysical hyperreality. In a self-portrait, displayed in an antique-looking frame, entitled The Legend of St. Lucy I Can do it with my eyes Shut, 1990, Vincent portrays herself in a meditative pose, with hair cropped short in a monklike manner. As legend has it, St. Lucy plucked out her eyes in an act of martyrdom and she is often represented offering them in a dish. Here a heart-shaped amulet around the artist’s neck contains her open eye.

    Vincent’s still lifes are collections

  • Darryl Zeltzer

    Darryl Zeltzer’s recent showing of paintings balances East with West, Oriental mysticism with technology, figure with ground. These works were prompted by frequent visits to India, and they reveal a deep commitment to the environment, to natural materials, and to sacred imagery. Many of the pieces have been painted on handmade paper. In Flabellum, 1989, the central image is drawn in pencil, then covered with a mixture of tar, oil, and beeswax. The paper resembles vellum and is mounted on wood and framed in cold rolled steel. This contemporary ideograph can be read in a variety of ways: as a tree

  • Lawrence Kupferman

    Lawrence Kupferman (1909–82) responded to the lessons of surrealist automatism and bio-morphism in a highly poetic and personal manner. Like his contemporary and friend Mark Rothko, Kupferman worked as a WPA artist, and first exhibited in New York in the early ’40s. However, he chose to make Boston his home and became historically more associated with the expressionist school in that city, which included Jack Levine, Hyman Bloom, and Karl Zerbe, than with the first generation of the New York School. This carefully selected exhibition of four oils and seven works on paper reinstates Kupferman as

  • GERRY BERGSTEIN: A SELF-CONFESSED COUCH POTATO

    GERRY BERGSTEIN, IS THE KIND OF ARTIST that Harold Rosenberg (whose concerns were paintings, politics, and intellectual history) might have written about. Bergstein’s canvases are arenas for expressing the artist’s fantasies about bounty and emptiness, high-art ideals and commercialism, sexuality and purity. At the same time, these paintings wittily burlesque the fevered act-critical debates of the postwar era. The spatters, drips, impasto and accident of Abstract Expressionism share the canvas with meticulously rendered trompe l’oeil images of junk food, '50s icons, and household utensils, with

  • Julia Kidd

    Julia Kidd groups together 18 works from the past five years for a thought-provoking installation entitled “Home Is Where Your House Is.” Kidd explores the fragility of American consumerist myths in these multimedia meditations on house and home. Home Is Where Your House Is III, 1989, features a photograph, printed on wallpaper, of a front garden and trees leveled by a hurricane. Superimposed on this disaster photograph are five cartoon silhouettes of a young boy learning to walk on stilts. Metaphorically, the collision of these particular images suggests the fragility of the home, whose security

  • David Brody

    David Brody’s fantastic narrative paintings explore the dualities of sexuality and power through images that provide a stunning visual punch. The boldness of style, Freudian themes, and brash technique in these hotly colored works reveal a self-awareness and confidence that is extremely refreshing. Brody begins by painting figures on wood panels, employing a stylistic spectrum spanning primitive through cartoon style. He then adds panels or dissects the wood ground, as the narratives intuitively unfold. Brody embraces fetishism by hammering nails directly through the panels, leaving their sharp

  • Maggi Brown

    Maggi Brown’s nine new canvases explore the possibilities of content in abstract painting. She based this series of fundamentally monochromatic canvases on Russian Orthodox icons, retaining their essential spirit and form while eliminating their figures and coloration. Her sensuously textured oils are dominated by quasi-architectonic arches and columnar lines. Brown’s own trademark checkerboard grids contradict the moody sublimity of the vaults and arches and provide the work with a mixture of styles that is decidedly post-Modern. These signature checkerboards are not kin to the perfect grids

  • Donald Lipski

    Donald Lipski takes industrial salvage material and creates unique neo-dada sculpture. He finds artifacts in junk stores, dumpsters, and military supply rooms, employing a surreal logic in his clever mating of them. This exhibition, consisting of two distinctly separate installations of recent work, showed Lipski to be adept at tempering the coolness of minimalist form with poetic irony and a sense of humor. Steel wool and industrial waste tubing were the featured materials here. In one group of works, industrial components—a rubber high-pressure hose, aluminum fan blade, saw, or inner tube—define

  • Natalie Alper

    The eight paintings that Natalie Alper showed here all begin with pencil marks—scribbled and wavy lines that pay subtle and poetic homage to Cy Twombly. These marks are then overlaid with turbulent strokes of rich acrylic paint. Black and white lines weave freely through pearlescent passages of color, creating a complex Piranesian spatial tension and illusion of depth. By combining a metallic color palette with earth tones, Alper contrasts an industrial world with a more elemental one.

    The artist’s paintings connote the flow of water and, like the deluge drawings by Da Vinci that inspired them,

  • Dorothea Rockburne

    A decade of explorations into the transcendent qualities of abstraction, light, and geometry reveal themselves in this evocative installation of 26 works by Dorothea Rockburne. Renowned for her visual articulations of the sublime, Rockburne explores the multiplicity of corporeal and incorporeal relationships between rectangles, triangles, and squares. This exhibition, which documents Rockburne’s shift from drawing to painting in the ’80s, presents a cohesive, evolving body of non-objective art. It moves from the elegant series of white folded canvas rectangles and the fragile watercolor-on-vellum