Hal Fischer

  • Victor Cohen-Stuart

    In Victor Cohen-Stuart’s work, painting traditions are played against sculptural intent, and an implied utilitarianism confronts fetishistic form. The materialistic vocabulary of these works is decidedly painterly—canvas, paint, wooden stretcher bars and string. But the objects realized, constructions that seem to tear away from their supports, are intentionally sculptural.

    Of the seven pieces in this current exhibition, the larger works, averaging 6 by 9 feet, emanate the most force. The objects are carefully fabricated, string and canvas organized in a way to suggest nautical apparatus or the

  • Gregg Renfrow

    Gregg Renfrow’s paintings project an engaging physicality. Through textured polymer surfaces, layered into geometric forms, they suggest a non-literal landscape that vibrates with a topographic expansiveness. Since the early 1970s Renfrow has worked in acrylic, initially constructing hanging panels predominately in earth tones. His most recent paintings push this material to new extremes, developing an emphatic concreteness that is almost sculptural, and a brilliant palette in which so-called “decorative” hues, particularly pinks and yellows, are handled with expertise.

    Renfrow applies acrylic

  • Todd Miner

    A similar concern for texture and structural delineation occurs in Todd Miner’s paintings. Working in small ragged-edged rectilinear formats, Miner sews and presses ephemeral materials into tightly compressed compositions. Gauze, vinyl and miscellaneous paper scraps are organized by threaded patterns that unify these diverse materials and divide the surface into a system that appears simultaneously free-form and geometric.

    Each work has an overall stained color, usually wine or parchment, that refers to the origins of the found material. The artist accentuates the composition with more synthetic

  • Frank Gillette

    Aransas, an installation of six-channel video and SX-70 photosets by Frank Gillette, is an approach to landscape grounded in both observational strategy and intuitive process. Using 34 locations in Aransas, a seemingly uninhabited area of Texas comprised of bays, tidal flats, prairies and seashore, the artist randomly selected axis points for videotaping within the region. However, once the axis points were arbitrarily determined, camera angles were defined through strict numerical systems. In selecting the axis point, and then shooting out from that coordinate, the artist placed himself within

  • Richard Shaw

    In Richard Shaw’s porcelain works, found objects are cast into flat tableaux, still-life arrangements, and free-standing figurative sculpture. Shaw has perfected porcelain casting and overglaze photo decal transfer with the capacity to replicate playing cards, tin cans, scraps of letters, old books with marbleized covers and pictographic imagery with extreme veracity. While many ceramists seem content to operate solely within the boundaries of imitation, Shaw, particularly in his freestanding pieces, expands the realist genre, fabricating works that are lifelike in detail and gesture, but

  • Lionell Gaze

    Through an eccentric disposition that has a cursory similarity to Richard Shaw, Lionell Gaze exploits both historical antecedent and mundane familiarities in his work. Glaze is an unconventional reductivist who extrapolates common forms and invests them with extended meanings. Last year he constructed a life-size wallboard model of Daumier’s jury box and had legislative journals delivered to the installation daily. His current work, titled Connotative Appendages, has baser origins, displaying consideration for both the salon tradition and circus milieu. Glaze shows 35 works in which an anatomical

  • Snake Theater

    Four white dinner plates rest against a window in the stairwell. It could be a coincidence, until one encounters, on the second landing, a maroon succulent with silver Deco prongs. The theatre itself is encircled with scrim, tinted a dingy, desert reddish brown. On stage sit six more squat succulents and a checkerboard floor delineating a truck stop. The performance begins with cricket chirpings and a man, in total darkness, moving across stage with a glowing hot-plate. Forty-five minutes of frenetic activity, describing the saga of a waitress trapped in the banal existence of a desert cafe,

  • David Best

    David Best’s sculptures are figurative plaster armatures immersed in animal carcasses, cloth and ceramic decoration. Through these materials the artist expresses aspects of both life and death, combining cultural artifacts and natural elements into a personalized cult object. In a multitude of agonizing details his figures remind one of Bosch’s poor souls or the demonic renderings on a Gothic cathedral facade. Best uses an eclectic array of forms; suggestions of Japanese, American Indian and Christian motifs abound. The modern psyche is overwhelmed, bombarded with cultural references that resist

  • Arthur Ollman

    Phenomena invisible to the naked eye have always interested photographers. Marey and Muybridge, for example, both used the medium to analyze movement. In Arthur Ollman’s night pictures, color film coupled with lengthy exposures (4 to 5 minutes) reveal a brilliant, artificial spectrum of hues. He photographs in the urban milieu: a children’s playground, street intersection, blocks of row houses, industrial warehouses and beaches. His 20mm wide angle lens yields a high degree of distortion, causing buildings to loom ominously upward, and objects placed away from the center of the frame to fall

  • Judy Dater

    Judy Dater’s recognition in the early 1970s came from her portraits of women. These pictures were collaborative fantasies, in which subject and photographer created tableaus representing fragments of female experience. Photographing women involved self-exploration for Dater, and the strength of these works rests in the manifestation of this involvement. Pictures of men—exhibited for the first time as a group—display inconsistency. From a visual standpoint they are dynamic: larger than her previous work (16 by 20 inches rather than 11 by 14 inches), using more direct light and graphic composition.

  • Ron Nagle

    As a second-generation California ceramist, Ron Nagle’s small, intricately glazed vestigial cups are most closely related to the works of Ken Price. However, Nagle moves beyond restatement or imitation to create highly original pieces that are rich in nuance and form. The “Yama” series, from which the nine pieces on exhibition were selected, is inspired by Japanese Momoyama ware, a style noted for its looseness, texture and emotional feel. In his use of deliberately sensual and unanticipated color, Nagle, nevertheless, shows equal consideration for a palette often associated with southern

  • Daniel Wiener

    Surrounded by sand, Daniel Wiener’s Catwalk II intersected the gallery. A domed arc form, constructed of plastic and suspended from the ceiling, hovered over one side of the installation; a gallery door sealed in plastic and a twisted plastic shape occupied other parts of the space. In addition, seven small, ritualistic-looking sculptures, crafted primarily of wood and spun materials, were individually lit by bare light-bulbs. These operated as subtle focal points within the overall installation.

    The wooden catwalk itself functioned as a boardwalk and the sporadic lights with sand reflections