Francine Koslow Miller

  • Ridley Howard

    New York–based painter Ridley Howard is profoundly attached to the South of his childhood. The six large-scale oil paintings and three drawings in the “Palace Court” series, 1998–2000, on view in his first solo exhibition recently, depict this twenty-six-year-old artist’s neighbors on the suburban Atlanta street where he spent his first thirteen years. In the narrative theater of Howard’s canvas, his characters—Janie Mulaski, Mr. Genn, Hester, Barbara, Kelly, the Domenicos—function as cultural archetypes and autobiographical signifiers. Howard’s settings and figures are drawn from memory where

  • Cornelia Parker

    Cornelia Parker first came to public attention in 1988 by arranging for a steamroller to level a scavenged collection of silver objects to create the raw materials for a large-scale sculpture. Since then, melting, slicing, crushing, shooting, and exploding objects (with the assistance of the Royal Mint, Colt Firearms, and the British Army) and recycling the results into eloquently arranged installations has become the trademark of Parker's creative process. The more than sixty sculptures, photographs, and drawings in the British sculptor's first major American survey combined Dadaist wit with

  • Nuno de Campos

    For his first exhibition in the United States, Nuno de Campos presented five intimately scaled tempera paintings (all titled Lap, 1999), each of which pictures the same seated woman from just above her breasts to slightly below the knees. Headless but not truncated, the model appears from panel to panel in a blue floral-print housedress from the ’70s, positioned frontally on a white, padded swivel chair. Shown in various states of animation, the figure expresses an emotional content through the strong arms, work-worn hands, and subtle shifts in body torsion, always with the lap as the compositional

  • Todd McKie

    In flatly rendered configurations of humanoids, animal creatures, plant life, and pottery positioned atop basically monochromatic grounds, the thirteen small-scale, brightly colored canvases in Todd McKie’s recent show, all but one painted in synthetic vinyl, merge liberal borrowings from the history of art with apparently simple quasi-abstract biomorphic forms. The resulting works, highly self-contained paintings that suggest influences from pre-Columbian vases to Matisse, Dubuffet, and Miró, feature anthropomorphic characters who act out the myriad trials and triumphs of McKie’s life.

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  • Frank Egloff

    Since the ’80s, Frank Egloff has been appropriating imagery from vintage photography, film footage, and advertising to create paintings that are at once subversive and alluring. In his recent exhibition, “Inverse,” he presented three acrylic canvases, each eighty by eighty inches, whose origins lie in British photographer John Deakin’s portraits (made in the ’50s) of three friends: journalist Rayner Heppenstall, poet Oliver Bernard, and publisher and bookseller David Archer. Deakin, a Vogue photographer known for his brutally direct close-ups of artists, writers, models, and film stars, was part

  • Francesca Woodman

    Part of the mythology surrounding Francesca Woodman (1958-81), who leapt from a Manhattan window to her death at the age of twenty-two, is that her photographs in some way presage her sensational suicide. Loosely chronological and thematic, the recent exhibition presented twenty-seven haunting black-and-white works selected from her estate's 550 extant images and produced posthumously by printer Igor Bakst. On view were the sensuous and surreal self-portraits executed in Colorado, Rhode Island, Rome, and New York, starting with a tiny, ghostly image that Woodman took of herself at around the

  • Naoto Nakagawa

    Naoto Nakagawa has dedicated himself to painting still lifes ever since his move, in 1962, from Japan to New York. In his most recent solo show, consisting of 13 acrylic and mixed-media paintings from 1992–96, and seven drawings executed in 1995, Nakagawa focuses on two motifs—roses and earth. His paintings transform the flowers and clumps of ripped-up turf, carefully arranged on a table in the studio, into haunting visions in which color is minimized and images are placed against a background of black and gray. In some, the paintings take on aspects of sculpture as the rolled left-hand side

  • “Inside the Visible”

    In an effort to reread 20th-century art history, visiting curator M. Catherine de Zegher, Director of the Kanaal Art Foundation in Belgium, presented “Inside the Visible: an elliptical traverse of 20th-century art,” a sprawling show that comprised over 250 works by 37 women artists from Europe, Asia, North and South America. Spanning more than 60 years, this exhibition suggests a trajectory of artistic production, perhaps heretofore invisible, that runs parallel to the predominant art-historical axis. The work of such prominent figures as Louise Bourgeois, Eva Hesse, Nancy Spero, Ana Mendieta,

  • Sylvia Plimack Mangold

    The Museum of Fine Arts in Boston, the final venue for the first comprehensive survey of Sylvia Plimack Mangold’s paintings, housed an exhibit of 54 major canvases and a single drypoint print, all executed between 1967 and 1994. This retrospective, organized by the Albright-Knox Gallery in Buffalo, documents this artist’s evolution from a realist painter of studio interiors to a landscape painter of the Hudson River Valley. The earliest paintings exhibited (which date from 1967 to 1975) were austere images of floorboards, walls, mirrors and empty studio spaces. The methodical control evident in

  • Kathleen Gilje

    In “New Intentions,” Kathleen Gilje masterfully exploited her skills as a restorer in her clever “modifications” of seven classic works of art. Replacing details from works by Masaccio, Van Eyck, and Ghirlandaio, for example, with emblems of Modern art and contemporary popular culture, she alters the identity and iconography of the original. However, unlike those who have similarly dealt with art-historical materials over the last decade, such as Sherrie Levine, Cindy Sherman, or Mike Bidlo, Gilje seems less interested in parodying painting itself than in personalizing her favorite works of art

  • Tobi Kahn

    Comprised of 16 small paintings, sculptures, and works on paper, Tobi Kahn’s recent show “Dreamscapes” explored the interdependence of memories and dreams. Kahn’s thickly painted, biomorphic abstractions were the most dramatic of the works shown here. Based on images of natural phenomena—either aerial views of the land and sea or microscopic cell formations—Kahn’s contemplative paintings are at once sensuous and spiritual, reminiscent of the work of Arthur Dove, William Baziotes, and Clyfford Still. As is reflected in his titles, Kahn is profoundly interested in spirituality and meditation—“Ullyh,”

  • Esther Solendz

    Esther Solendz’s series “Incarnation, ” 1994–95, represents the artist’s first attempt to blend text and image. Her mixed-media portraits, which begin as silver prints mounted on board, mix spiritual and material concerns through a complex layering of beeswax, earth, gold leaf, plaster, and paint.

    Her most ambitious and largest work, Touch Me, 1994, is a neatly arranged collection of original and rephotographed portraits of beloved family members, covered in wax and framed in handcrafted wood and wax frames. Six square, framed portraits—some more visible than others—were combined with three