Francine Koslow Miller

  • Domingo Barreres

    In Domingo Barreres’ dynamic compositions, floating spirals, disks, ovals, and cones seem to levitate in atmospheric tissues of light. Working with dark and light contrasts as opposed to color, Barreres infuses the black backgrounds of his richly worked canvases with a ghostly light; indeed they seem to pulse with tension between matter and antimatter. Barreres is a cosmogonist whose speculations on the chaotic beginnings of creation inspire his borrowing of imagery from photographs of the trajectories of subatomic particles during collision. He also pays homage to timeless mysteries, myths,

  • Gerry Bergstein

    This stunning exhibition of 14 paintings, all completed in 1991, reveals a new cohesiveness and maturity in Gerry Bergstein’s work. Known for his manic, tragicomic narratives, the artist here exchanges romantic symbolism for a kind of surrealism in beautifully colored and rendered still lifes. Bergstein has, at least temporarily, relinquished his ironic tongue-in-cheek titles; all but one painting, Entropy #4, 1991 (a huge canvas laden with fruits and vegetables positioned against what looks like a dark promontory), remain untitled. Although his characteristic bald, bearded visage is absent from

  • Damien DiBona

    Damien DiBona presents 20 abstract paintings in his first solo exhibition. These meticulously crafted acrylic and oil paintings are quite small, and they represent work made from 1987 to the present. Each of the tabletlike images, which appear either singly or as part of asymmetrical diptychs or triptychs, consists of subtle grounds of glazed color. Except for two solitary images, every composition contains calligraphic information flatly executed upon the translucent surfaces with a template. DiBona’s nonobjective visual language investigates relationships between apparent opposites—the biosphere

  • Aida Laleian

    Aida Laleian’s surrealistic photographs present a series of composite mythic creatures, each combining the portrait head and/or torso of the artist with the body of a taxidermic specimen of a wild beast. Although Laleian has focused her energies for the past eight years primarily on photographic self-portraiture, the modern mythic hybrids she presents in this exhibition, entitled “Atavistic Beasts,” constitute a departure from her signature compound self-portraits.

    Laleian combines specimens photographed primarily in natural history museums or from nature magazines with close-up self-portraits