Jean Fisher

  • Hamish Fulton

    Hamish Fulton and his occasional traveling companion Richard Long have been, like Braque and Picasso, so roped together that, to a casual glance, it is sometimes difficult to see where one’s photographic work ends and the other’s begins. Both artists tend to walk in the remote corners of the world; but Long uses the walk to document the elemental or sculptural gesture, beating out his own paths and making material “cuts” in the landscape, while Fulton treads quietly, little more than a silent witness to the nature that becomes annotated in his captions. “Day 11,” he begins, in support of one

  • Dermot Seymour

    Of the bitter conflicts in the world, none seems more touched by insanity—and for a multiplicity of reasons—than that of Northern Ireland. There, aided by their cynical government, the protagonists are engaged in a protracted struggle over ancient mythologies, while the world is in jeopardy from the insidious effects of pollution. This appears to be the subject of Dermot Seymour’s painted landscapes, in which invasion, surveillance, and disaster take place under the baleful stares of domesticated, wild, and exotic animals. It is not an easy subject to deal with in this medium, and Seymour’s work

  • Edgar Heap of Birds

    Male identity in Western culture has tended to be defined in terms of relations of power that circulate around gender and cultural difference––an identity in support of which an abundance of anthropological and zoological data has been assembled to “prove” that the inferiority of women and others is the “natural” order of things. Edgar Heap of Bird's work has always recognized this situation as a problem of rhetoric, of a measure of the untranslatability between disparate entities, but one that nevertheless has had serious effects upon the psychic and social well-being of his people in Oklahoma

  • Dan Grahm

    Dan Graham’s Pergola/Conservatory, 1987, is a complex extension of his glass “pavilion” sculptures. Designed for an outdoor location, it is an open-ended walkway 20 feet long, with a curved vaulted ceiling. The double armature, wood inside and metal outside, supports a surface of two-way mirror glass and functions as a trellis for exterior vines. Graham’s pergola is a hybrid, incorporating elements of the rustic arbor and gazebo as well as urban structures such as the bus shelter and the corporate atrium, which Graham, collaborating with Robin Hurst, discussed in the six-panel piece Private “

  • Mac Adams

    Mac Adams’ work has always expressed an impatience with the purely formal language of mainstream modernism and with the arbitrariness and self-referentiality of its esthetic decisions. Such impatience carries over to the current fashion for estheticizing the codes of commodity production where this is the sole referent to the work. In Adams’ work, though, meaning is born of the relation between things and the power invested in them by the imagination, and it is this relation that is addressed by the photographs and sculpture shown here in the exhibition “Shadows and Reflections.”

    The staging of

  • “BERLINART 1961–1987”

    “BERLINART 1961–1987” was intended to celebrate this city as one of the great art capitals—a magnet for artists from all over Europe and the United States as well as Germany itself. Many of these foreign artists were invited by the Berlin Artists Program of the DAAD (German Academic Exchange Service). As this exhibition is named for Berlin, one might expect it to illuminate something of the nature of the narrative spaces constructed by the city, the psychosocial dynamics involved, and their intersection with a context beyond the concerns of art history. For the most part, however, such signs

  • Muntadas

    Exhibition, 1987, was a modified version of an installation by Muntadas staged in 1985 at the Galería Fernando Vijande in Madrid. In the ten works shown here he presented nine forms of image-presentation currently used by artists, from the historical conventions of the museum to contemporary street display: The XIXth Century Frame, The Slide Projection, The Print Series, The Photo Series, The Billboard, The Triptych, The Video Installation, The Drawing Series, all 1985, and The Light Box and The Light Box Display, both 1987. In each case, there was no image as such; the display case of “prints”

  • Gerard Hemsworth

    The mind’s capacity to make meaningful connections from seemingly absurd juxtapositions is essential to humor and its potential to subvert language, and is intrinsic to the maneuvers that constitute both the internal and the external events of Gerard Hemsworth’s paintings. Although his images and inscriptions are handcrafted, they are cliched, reproducible signs, including those drips and marks that are often claimed to express an inner essence. In Madam I’m Adam, 1986, these signs of “expressionism” are combined with two identical images of a chimpanzee’s head. Here, through the title’s gender

  • Barbara Kassel

    At first glance, Barbara Kassel’s work seems to have little in common with current art practice and its means of addressing the problem of subjectivity. Making no appeal to the effects of mass-media culture and its fetishization of the codes of reproduction, it refers instead to much older European traditions, in which narrative painting is intimately bound to an architectural context. The form of the work is reminiscent of the modest trecento or early quattrocento predella, more often than not encountered in museums as an object orphaned from its parent altarpiece. In addition to relatively

  • Tim Maul

    Tim Maul’s work provides a curious insight into the relationship between photography and writing. Like writing, photography is a transparent medium: an act of inscription upon a surface that effaces itself as it traces what is exterior to it. Despite its apparent coincidence with physical reality, the photograph is an image of what, strictly speaking, never existed, and as such is a hallucination. While other artists have explored this ambivalence through the manipulation of photographic technology, Maul evokes it through the imagery itself. Composed in camera, his photographs—collectively titled

  • Frank Bigbear Jr.

    Among the effects of colonization has been the perversion of the cultural signs of colonized peoples. What the colonizer regards as a positive attribute of the colonized is frequently appropriated to reinforce his own power (hence the theft of Indian names and their remotivation toward macho images of football teams and trucks), and what is deemed negative is eradicated or trivialized. Even alienation has become a cliché under dominant culture. Frank Bigbear’s work, as it searches through the morass of media clichés that entraps his people, nonetheless uncovers an intensity beyond the sign and

  • Richard Mock

    Star Trek’s Mr. Spock had a number of distinguishing features. Television’s best-known extraterrestrial had elf ears, soaring eyebrows, a great neo-Beatle haircut, and occasionally made that peculiar Vulcan peace sign by raising a hand with the middle and ring fingers forming a V. The limb projecting from the crudely outlined figure in Richard Mock’s Uranian Handshake, 1986, appears to be making a similar gesture, only more symmetrically, since the proffered hand has six digits.

    Mock’s most recent oil paintings are replete with references to a friendly alien cosmos. Titles like Moon Ladder, Space