Fred Hoffman

  • Vernon Fisher

    Vernon Fisher’s combinations of literary texts and neo-photo-realist paintings question some of the expectations with which we approach narrative content. The artist cuts his texts directly into highly worked images of media personalities, parking lots, nondescript automobiles and scenes from his native Texas landscape; the integrated text deliberately challenges the clarity and sanctity of recognizable subjects. In one sense, the fusion of verbal and visual implies a continuation of esthetic concerns deriving from Cubist collage. Here, however, the issue is not manipulation of planes, but

  • Chris Burden

    While Chris Burden has been primarily associated with performance work, in his Big Wheel he has successfully integrated the concepts of art as “object” and art as performance. The piece consists of the artist’s 250 cc Benelli motorcycle resting against the front of a 6,000 pound, 8-foot diameter, cast iron flywheel which is supported by a 6-by-6 inch lumber frame. The back wheel of the bike sits in a specially designed stand which raises it off the floor, thereby allowing it to reach speeds from 60 to 70 mph without inducing forward motion. As the bike accelerates, it rotates the flywheel which

  • DeWain Valentine

    In two concurrent shows, DeWain Valentine perpetuates old interests and ambitiously tackles other issues long associated with modernist painting. Using thin, long and precariously sharp sheets of glass which are joined together with semi-transparent silicone adhesive, Valentine has created a number of larger-than-life-size structures which approximate functional architectural elements. They include a series of free standing towers, a beam connecting two walls, an arch and a stunning double pyramid; they present a notable shift away from the solidity and density of the previous work in glass and

  • Mark Tobey’s Paintings of New York

    IT IS SURPRISING TO FIND Mark Tobey painting scenes of New York, where, after 1922, he never lived for any length of time. Nonetheless, in the midst of a period of wandering and restlessness during the ’30s, Tobey looked to America’s foremost metropolis for his subject: a society solely concerned with rational and intellectual pursuit. His images of the metropolitan milieu investigate how one might live in the midst of materialism and still enjoy the full expression of one’s feelings, intuition and creativity.1

    These were precisely the questions Mark Tobey dealt with when he painted Broadway Norm