Lois E. Nesbitt

  • Andrew Masullo

    Andrew Masullo combs junk shops, flea markets, garbage heaps, and attics in search of resonant objects and images. In the past, Masullo’s compulsive output (his previous New York show included 220 works selected from some 450 produced over the preceding year) ranged from mosaiclike text pieces made up of individually cut-out and assembled letters, to eviscerated books restuffed with cubes of fur and fabric.

    The works shown here consist largely of original (primarily abstract) and found paintings on wood or canvas. A taut string of collage-paintings ringing the room includes an old watercolor

  • Muntadas

    The stadium provides the thematic conceit around which Catalan artist Muntadas organized his quasi-architectural installation entitled Stadium V, 1990. The fifth version of a project that has been installed in various cities, the structure consists of an oval of columns spaced so closely that one cannot pass between them; on the floor within the colonnade, a circular projection like the light beam of an oculus shows films of spectators’ faces as they respond to unseen performances. Moving around the periphery, one is bombarded by slide-projected words and images, as well as fragments of speeches,

  • Fred Wilson

    Fred Wilson’s simulated ethnographic institution entitled The Other Museum, 1990,is dedicated to precisely that which the traditional museum excludes. An alternative to “our” museum—a repository of artifacts that correspond to official History—Wilson’s installation proposes other ways of seeing, symbolized by an upside-down world map at the entrance; depending on how you look at it, north can be south; black, white; and the “other,” oneself.

    Wilson plays off the old-fashioned, 19th-century colonial museum, recording the white man’s travels among the natives and his eventual disastrous impact on

  • Dennis Adams

    Frequently installed on city sidewalks or in outdoor urban spaces, Dennis Adams’ sculptures derive their subversive edge in part from context. In his series of structurally distorted, marginally functional bus shelters, for instance, back-lit images replacing the usual advertisements depict political events related to local life and history. A Toronto shelter was graced by a photograph of Native Canadians whose society was displaced by industrial development, and his project for the city of Münster incorporated an image from the Klaus Barbie trial in session at that time. Even when Adams moves

  • “Illegal America”

    Chris Burden lies down on a California freeway surrounded by emergency flares; Gordon Matta-Clark carves a hole in the facade of a warehouse on the Hudson River; Louis Aragon writes an ill-timed poem about the Russian Revolution; and Charlotte Moorman plays the cello topless. Each of these acts, and many others staged by the 36 artists included in this thought-provoking exhibition, was deemed “illegal” by the reigning authorities. In some instances their creators were arrested or fined, though in most cases charges were dropped as prosecutors wallowed in a mire of slippery terms and legal

  • Clegg & Guttman

    The significance of Clegg & Guttmann’s cerebral art lies in the multiple visual and conceptual subtexts concealed beneath the glossy surfaces of their Cibachrome photographs. Earlier seemingly straightforward group portraits of corporate executives portrayed actual businessmen or merely actors dressed for the part. These images exploited pictorial illusionism while revealing its artifices. Ultimately the portraits served as a vehicle for exploring power and its visual representation in contemporary society. Similarly, Clegg & Guttmann’s unconventional still lifes used objects to comment on issues

  • Donald Lipski

    In this installment of his project called Gathering Dust, 1988, Donald Lipski pinned tiny odds and ends to the gallery walls in loose configurations. From a distance, skewered curiosities—including a four-leaf clover fashioned from rubber bands, a bottle cap covered in wax, and a book of matches folded in a stepped pattern—look like fishing flies or insect specimens. Lipski crafts these items in idle moments from objects he comes across in the course of his daily rounds. The artist seems drawn to the mundane and insignificant, to the kind of objects that get shuffled to the back of desk drawers

  • Robert Yarber

    Robert Yarber’s lurid nightscapes treat all the obvious aspects of postindustrial anomie. Mismatched couples quarrel in swank restaurants or lie catatonic in the room-with-a-view luxury of resort hotels. Lonely people drift about in quest of romance, only to wind up bewildered beside motel pools or gaudy strips where neon signs advertise life’s most hollow pleasures. In Rex, 1990, and Expenditure of Excess, 1989, faceless, Hopperesque organization men seek distraction in oppressively overlit casinos.

    Recently Yarber’s subject matter has moved up a social notch. Roadside motels and tacky eateries

  • Jan Groth

    For the past thirty years Norwegian artist Jan Groth has been producing drawings and tapestries characterized by bold, sparse compositions. In the drawings, single black crayon lines score vast fields of white, while in the tapestries (executed with the assistance of Benedikte Groth) the scheme is inverted. Here Groth presents five recent tapestries from his “Sign” series, dominated by single hooks and V-shapes suggesting proud, oversized calligraphic signatures. It is the four smaller crayon drawings, however, that steal the show. In these modest efforts one senses Groth’s edgy, troubled hand

  • Michael Banicki

    For the past ten years or so, Michael Banicki has been producing “Ratings,” drawings and paintings in the form of seemingly objective graphs or charts, recording his subjective preferences within categories ranging from North American Birds to World War II Planes.

    Some of Banicki’s subjects, such as early jazz tenor sax players or the artists mentioned in H. W. Janson’s History of Art, fall within fields that place high value on cultivated discrimination. In other cases, the artist deliberately explores categories—Chicago Telephone Exchanges or the numbers between one and one hundred—in which

  • Simon Faibisovich

    The meticulously rendered patterns of reflective and transparent glass in the paintings of Muscovite Simon Faibisovich have led many to associate the artist with Western photorealism. But in the present show Faibisovich employs a range of styles and compositional strategies, and the constant lies in his subject matter: ordinary people in uneventful moments of ordinary days. Faibisovich’s past series have included people riding on or waiting for public transportation and people waiting on line for food and other consumer goods. The new paintings continue the waiting motif, though it is seldom

  • Greg Colson

    At first sight Greg Colson’s sculptures look like yet another instance of the currently stylish approach that someone dubbed “stonewashed Minimalism.” His objects—made of lunch boxes, inner tubes, and scrap boards that are chipped, rusted, dented, and faded—bear conspicuous signs of aging and decrepitude. But upon closer inspection Colson’s work reveals delicate intrusions that seem to be at the core of his concerns. Various ordering systems are inscribed on the distressed surfaces of his found objects, in an apparent effort to control or deny the entropic forces of time. In Newark, 1989, an