Joan Seeman Robinson

  • Jim Hatchett

    Jim Hatchett’s stark, flat paintings of the past several years evoke limitless space, although they are moored at their centers by nichelike areas of applied materials. His recent works are even more reductive and astringent; they are marked by a dissolve between background and foreground. Painted on canvas or scrap wood, they are assembled of materials scavenged from deserts, alleyways, and older buildings. But these castaway remnants are so coherently integrated with the canvases and boards that they collapse distinctions between atmospheric space, walls, panels—and votive offerings.

    These are

  • Dee Wolff

    Dee Wolff’s “Stations of the Cross” series, 1973–88, expands the theme of the Passion of Christ beyond its orthodox confines and adds to it the Resurrection. Over the last 14 years Wolff has made a persistent and disciplined struggle against conformity and rigidity; her work moves toward a universal and ecumenical end. This series of works is about spiritual growth transcending both the Church and the ego, and it is based on a scheme that preserves the inspiration of the first and a scenario for the second.

    Working intuitively, Wolff began with small, simple, semiabstract drawings that spontaneously

  • Jesús Bautista Moroles

    Jesús Bautista Moroles is a master builder for a new Stone Age. His sculptures have a soaring lithic presence, like sectioned strata erupting from sunken chambers. Their surfaces are both rough and smooth; their edges jagged on one side, plumb-line straight on another. Light heightens their mass but erases their color when it strikes a polished finish. They often stream with water that comes from hidden sources within them. Moroles’ works have a strong architectonic character. Those that are monumental in size, such as Lapstroke, 1987, project a spatial ambience evocative of sacred precincts.

  • Al Souza

    Al Souza’s new paintings are apparently disjunctive. At first glance they look like overlays of unrelated images, and seem to depend on modish deconstructionist strategies. What they really require is that we retune our focus: it’s the whole rather than the parts that matters most here. These highly graphic renderings of disparate images have been executed in near-identical dimensions and superimposed upon one another. Looking at Souza’s paintings is like reading an onionskin edition of collated manuals, encyclopedias, comic books, or popular woodcuts. The visual intricacy of the conflations