Francine Koslow Miller

  • Henrik Håkansson

    Swedish artist Henrik Håkansson, who gained attention in the 1990s for organizing a techno rave for the benefit of twenty-odd frogs (Frog For e.s.t. [eternal sonic trance], 1995) and amplifying the sound of chirping crickets to concertlike volume levels (The Monsters of Rock Tour, 1996) has lately turned his talents to documenting the Spix’s macaw, one of the world’s most endangered birds. “Henrik Håkansson: Cyanopsitta spixii Case Study #001,” Håkansson’s US solo museum debut, was dedicated to turning the macaw’s extinction in the wild into a multimedia project layered with innumerable disturbing

  • Kate Ericson and Mel Ziegler

    The decade-long creative partnership of Kate Ericson and Mel Ziegler, which was cut short by Ericson’s death in 1995, resulted in a substantial body of public projects, site-specific installations, and mixed-media sculptures, all marked by a keen social conscience, an idiosyncratic wit, and a cool, Minimalist-inspired aesthetic. With twenty carefully selected works, including models, plans, and documentary slide shows, their recent retrospective paid tribute to the duo’s facility for poetically decoding the hidden agendas of a hypercapitalist nation.

    The show takes its title, “America Starts

  • Joan Snyder

    “New ideas—more feminist imagery has to come back and flowers and fields could be incorporated into it but also with a very sensual sexual imagery. The Female has to begin enveloping the world.” The words, from a 2002 notebook belonging to Joan Snyder, are reproduced in a monograph accompanying the veteran expressionist’s 2005 retrospective at the Jewish Museum. They reflect a renewed commitment to issues and attitudes with which Snyder has long been associated, allegiances that also found their way into an ambitious recent exhibition of eighteen new paintings and works on paper—augmented by a

  • Sally Moore

    In her first commercial gallery exhibition, sculptor Sally Moore presented miniature models of the universe that unfold from walls or hang from the ceiling, becoming poetic metaphors for the rebuilding of broken worlds. Basswood-and-wire assemblages that initially appear as lighthearted and delightful homages to Calder’s mobiles or Klee’s Twittering Machine, 1922, ultimately temper playful curiosity with psychological vulnerability. In Fathom, 2004, for example, two tiny wire wings capped with bird feathers balance so delicately on a fish hook that a breath sets them spinning. A total of twelve

  • Emil Corsillo

    The seven large enamel-on-wood-panel paintings in Boston-based artist Emil Corsillo’s debut solo exhibition picture a quasi-abstract apocalyptic urban landscape devoid of living things. Rendered using superimposed source photographs of construction and demolition sites, the protagonists of these hard-edged images are I-beam frame works, chain-link fences, concrete barriers, and caution stripes.

    Although Corsillo claims a formal allegiance to Russian Constructivism, the planar austerity and bold machismo of his fragmented architectural forms more strongly recall the pre–World War I Vorticist

  • Lily van der Stokker

    In her first solo museum project in the United States, Dutch artist Lily van der Stokker traded her usually sweet and optimistic written commentaries for playful, gossipy complaints about real and fictional family and friends. She retains her cheerful “girlish” colors and precise ornamental patterns in four wall paintings of varying scales that extend into sculptural forms and furniture. Although the paintings have the appearance of spontaneous doodles, they are in fact technically intricate works based on numerous graphic studies that she traced from projections on to the four gallery walls.


  • John O’Reilly

    Miniaturist John O’Reilly has been constructing montages since the late ’60s, creating photographic tableaux from pictures and props that he reassembles into complex worlds that are always poetic and intimate. The black-and-white Polaroid montages in the series “Panoramas,” 2002–2004, average only about four or five inches in height but stretch up to twenty-three inches across, establishing a cinematic space. Using an uncoated film that allows him more time to compose the assemblages, O’Reilly’s pasted-together photographs unite allusive narrative in cubistic space. These sixteen works are

  • Maurizio Cannavacciuolo

    Neapolitan artist Maurizio Cannavacciuolo is known for his puzzlelike paintings and wall drawings that densely intertwine decorative patterns, sketches of architectural elements, and images of humans and animals. A recent participant in the Isabella Stewart Gardner Museum’s artist-in-residence program, which was founded in 1992 to showcase contemporary art in a gallery separate from the unchanging permanent collection, Cannavacciuolo (selected by contemporary curator Pieranna Cavalchini to help celebrate the museum’s centennial) spent his fall 2003 residency studying and photographing the museum’s

  • Michael Joo

    Since 1991, Michael Joo has used materials such as urine, natural and synthetic sweat and salt, sprouting seeds, live and dead deer, and transparent plastic deities to explore themes of transformation, evolution, and shamanism in his drawings, sculptures, installations, and performance-based videos. As seen in this first career survey, though there are direct references to Duchamp’s assisted readymade (as in Improved Rack #1, [Moose], 1999) and to Beuys’s ritualized and romanticized sociopolitical ephemeral props (as in Unpack, 2003), Joo also posits his own brand of intriguing and often darkly

  • Christopher Wilmarth

    Christopher Wilmarth (1943–87) is best known for his spare and sensuous sheets of etched plate glass and steel, sculpted in a style described by Donald Kuspit in these pages as “expressive Minimalism.” This show of fifty-eight drawings, sketchbooks, paper and card maquettes, and technical-specification sheets is the first to examine the artist’s practice through his career-long reliance on drawing. Dotted with quotations from the artist’s private papers, this exhibition demonstrates that Wilmarth was a romantic soul who moved as fluidly between drawing and sculpture as he did between reality

  • Abelardo Morell

    With this presentation of twenty-five gelatin-silver prints made between 1987 and 2003, Abelardo Morell celebrated a long romance with the history, science, and magic of photomechanical reproduction. The widely admired Cuban-born artist uses a large-format 4 x 5 camera and 8 x 10 negatives to produce elegant black-and-white photographs of books, maps, tabletop still lifes, and currency, as well as camera obscura works. Their wizardry lies in a marriage of skillful composition and conceptual rigor.

    Some of Morell’s most striking photos are of books—rare or recent, damaged or untouched—in extreme

  • Chen Zhen

    In 1986, after Chen Zhen left Shanghai for Paris and abandoned painting for sculptural installation, he coined the term “transexperience” to describe a certain self-awareness of homelessness and the active bringing together of cultures that characterized both his life and his art. His interest in combining traditional Chinese philosophy (suppressed in many forms under Mao) with contemporary art and ideas in the West best expressed itself in the poetic works created during his painful final years, when he was battling the autoimmune disorder that would claim his life in 2000. In the exhibition