Jenifer P. Borum

  • Young K.

    Like many artists of his generation, Young K. makes work that focuses on the media, its role as a vehicle for power, and its ability to condition our perception of the world. He meets manipulation with his own countermanipulation, subverting the media’s presumed authority with acrylic paintings that look very much like enlarged newspaper photographs of monuments, landscapes, and historical events. His modus operandi, subversion through appropriation, seems all too familiar at first. We’ve seen it before—a moralistic, deconstructive strategy that has been defanged by its own appropriation into

  • Elinore Hollinshead

    Elinore Hollinshead’s paintings combine autobiographical and art-historical imagery in an investigation of memory and the passing of time. In the six paintings featured in this show, she integrates personal and collective symbols to create a complex layering of meaning, and an often cryptic interweaving of past and present. By making imagery from the past an important part of her memory-collages, she locates herself and her work on a visual time continuum. Hollinshead’s references to classical, Renaissance, and Far Eastern art help her place her own experience in temporal and cross-cultural

  • Ed Albers

    Ed Albers’ diptych canvases (all works, 1989) portray hazy worlds populated by microbiotic life-forms. From the left panels emerge faint ghostlike patterns; the right panels bear isolated microbes, set off against a flat, murky background and highlighted by an eerie light. These forms are viewed as if under a microscope, enlarged many more times than normal and rendered with great precision. The creatures seem almost familiar, like distant cousins to the tree, as in Ramosus Spiraculum (Branching airhole), or the jellyfish, as in Siliqua Viri (Husks of the men). Albers’ earlier paintings, less

  • Nancy Fried

    The intensity of Nancy Fried’s ceramic sculptures has always come from their grounding in autobiography. In the mid ’80s Fried was making small, painted terra-cotta works that presented isolated female figures in various extreme emotional states. Their loneliness, despair, hatred, and longing were linked to Fried’s own feelings, and represented a cathartic purging for the artist of painful early experiences. Autobiography still drives Fried’s work. Since undergoing a radical mastectomy, a bilateral ovarian cystectomy, and an appendectomy, the artist has begun making small terra-cotta heads and

  • Yuriko Yamaguchi

    Eight of Yuriko Yamaguchi’s cryptic wall assemblages are featured in this show. Each is made up of an arrangement of strange, possibly symbolic objects, made of stained or polychromed wood. All are presented either directly on the wall or against backdrops that seem less like frames than breeding grounds for elementary life forms. Yamaguchi offers us undeciperable hieroglyphs, masterfully allusive configurations and clusters of shapes that escape definitive readings. In The Interpretation of Dreams, Sigmund Freud distinguishes between the latent content of a dream—the dream itself—and its manifest

  • Richard E. Prince

    This show presents five of Richard E. Prince’s works from the past seven years. All but one are accompanied by perfectly finished, small-scale models. In the mid ’70s, Prince made stage sets that depicted natural phenomena (such as wind) as theatrical devices. These little machines, contained in cases of wood or glass, showed the artist’s early interest in simultaneously creating and revealing illusions. This interest continued in a series of freestanding nude sculptures that drew attention to their dual reality as both inanimate objects and representations of human beings. By the early ’80s,

  • Roger Brown

    There are no surprises in Roger Brown’s latest show. All ten of the paintings here are marked by Brown’s signature Imagist cartoon style, a hybrid of faux naif and funk that has changed very little over the past twenty years. The new work is a continuation of the artist’s previous concerns: urban and rural America, current events and natural disasters, as well as his long-familiar political and art-historical polemics. In this show as in the past, Brown clearly stakes out his position as an outsider to contemporary society and as an opponent to what he sees as its ills.

    He is at his best in such

  • Jene Highstein

    Like many post-Minimalist sculptors who emerged in the ’70s, Jene Highstein takes abstract forms as a point of departure, creating sculptures rich with metaphoric associations and symbolic content. His works do not adhere to laws or formulas that dictate formal perfection, but rather to the exquisite imperfection of nature. At the same time, they are not abstracted from nature, but renatured abstractions. The power of Highstein’s sculpture comes from its participation in the world, and its relatedness to the environment in which it is seen.

    The artist’s gallery installations of the early ’70s