Jeanne Randolph

  • Shelagh Alexander

    Shelagh Alexander raids family albums and super-8 films for images to rephotograph in black and white. The kidnapped images are then shrunken, swollen, pruned, or otherwise rearranged and organized together in quite unpredictable ways. This exhibition consisted of six pairs of 50-by-40-inch black and white panels, oriented so that the three pairs labeled “part one” on one wall of the gallery faced the three designated “part two” on the opposite wall. The exhibit was meant’ to be viewed as if it were being read left to right, from the first photograph around to the twelfth; the story that evolved,

  • Stan Denniston

    Stan Denniston’s Kent State U./Pilgrimage and Mnemonic was a departure from his previously straightforward presentations of paired photographs. Two complex assemblages of photographs were mounted facing each other on unfinished wall constructions, forming a short, narrow, open-ended corridor which looked arbitrary and utilitarian. The photographic assemblages themselves seemed to be the product of a persistent methodology. On one of the ad hoc walls Denniston had generated a large picture of a site at Kent State University, Ohio, by systematically positioning numerous smaller photographs that

  • Reinhard Reitzenstein

    Reinhard Reitzenstein’s recent solo exhibition here is founded upon the primordial—forces of nature observed and weathered. These things are not lumped together lyrically, however; they are implicit. The works are almost elegant, and perpetuate a faith in a nimble, unbiased imagination.

    The two liveliest of the four pieces are entitled Sky Cracking and Preparing the Head to Take a Position in the Infinite. These are composed of half-inch-thick forms adhering to the wall in iconographic arrangements. Some of the forms are linear and some ambiguous cutouts; esthetically they are like momentous