Nancy Foote

  • Barry Le Va

    Barry Le Va’s work of the past few years has dealt with location. He postulates certain configurations relating to the gallery on the floor and identifies or leaves cues as to their positions. In his most recent show, he extends his geometry into three dimensions, with exponentially complicated results.

    Entering the gallery, one steps into two scatterings of wooden dowel slices, reminders of earlier installations. In addition, thin sticks of various lengths were stuck to the gallery walls in deliberate but indecipherable arrangements. A notice explained that the sticks represent sightings, taken

  • Hamish Fulton and Jean Le Gac

    Travel has a universal appeal. It holds out the tantalizing hope of being able to step outside of oneself, shedding that shell of circumstance and habit that structures one’s day-to-day existence. It also has the effect of vastly sharpening perceptions. The senses are put on 24-hour alert, and the most peripheral baggage, details of which pass unnoticed at home, suddenly commands attention. Road-signs, labels, wrappers, newspapers, restaurant china, all become the focus of this heightened awareness. It’s hard to dwell on yourself when traveling; too much gets in the way.

    Whether mythical or real,

  • Michael Singer

    Earthworks generally radicalize our perception of landscape by altering it in some unnatural way; Michael Singer’s modest works of the past few years, photographs of which were shown recently, investigate and comment upon natural processes without imposing on them. The pieces he has produced in Florida swamps and New York State forests are so at one with their surroundings that his discreet interventions pass virtually unnoticed.

    The swamp works consist of reeds and grasses bundled or propped casually to preserve their natural appearance. They bend with the breezes, are reflected in the water,

  • Marilynn Gelfman-Pereira

    Michael Singer’s work casually annotates nature’s random aspects; Marilynn Gelfman-Pereira transforms evidence of its structural regularity into a series of elegant, intentionally artificial constructions. Forked twigs, chosen for their similarity of size and angle, are judiciously pruned to uniform lengths and positioned in various configurations with the tips of the branches touching each other, thus producing rough imitations of geometric figures. These are then interlaced with miniature wire sculptures of a highly constructivist character.

    Pereira has always worked on a small scale. Her

  • Don Celender

    Don Celender is a spoofing quasi-Conceptualist who uses art-world figures and foibles as his subject—and target. Much of his “oeuvre” belongs to the Mail Art genre—the “documentary” branch, not the larger funk/junk division of the esthetic postal service. A recent prank involved correspondence with various categories of notables—corporation presidents, congressmen, etc.—proposing preposterous projects and publishing their replies along with his letters.

    Other works include baseball cards with art-world faces superimposed on them, published results of an art-world “Olympics”—best-looking critic,

  • Three Sculptors: Mark di Suvero, Richard Nonas, Charles Ginnever

    AN AMBITIOUS RETROSPECTIVE, ORGANIZED BY the Whitney Museum, offers us the opportunity to extend our understanding of Mark di Suvero’s sculpture beyond formal matters to its dialogue with particular sites, with the environment, with people. It also provides an occasion to reconsider his work in the light of subsequent artistic developments.

    Such hindsight, far from isolating di Suvero’s position, affirms the fecundity of his sculptural syntax,which has been assimilated and reformulated by many other artists. Richard Nonas and Charles Ginnever, who happen to have been showing concurrently (though

  • Mary Miss

    Much of Mary Miss’s recent work is based on spatial progressions, which provide her with a method of staking out and defining sculptural territory. A new piece shown here recently, as well as a film of a second entitled Cut-Off, executed in Flint, Michigan, in the fall of 1974, enlarge upon her previous investigations with considerable success.

    Entering a rather small gallery the viewer is confronted with a crude, fence-like structure made of painted plank, propped up with 2 x 4s. Since it’s a bit higher than eye level, it can’t be seen over, and the first impression is of a rather formidable

  • Jackie Ferrara

    Progressions also provide the basis for Jackie Ferrara’s work, but they are executed with a mathematical precision which places them at the opposite pole from the open-ended spatial investigations of Mary Miss. In Ferrara’s stepped plywood and masonite constructions, Conceptual and post-Minimal esthetics intersect, exploring the processes of stacking and building. Her work of the past couple of years is related to Smithson’s stacked glass and mirror pieces of 1969, though many of the new pieces exhibit a far higher degree of complexity than is present either in her earlier work or that of

  • John Baldessari

    Much so-called Conceptual art, regardless of the form it takes, is monumentally humorless. The smallest, most incidental occurrence, when singled out as a subject of artistic concern, assumes an intellectual gravity and importance that stifles any urge to smile. John Baldessari aligns his work against such current, facile high seriousness. His repertoire of fragmentary, puckish gestures cuts across most Conceptual territory and celebrates “unimportance” with irony and humor.

    His recent show contained evidence of this quicksilver intelligence, but it also signaled, perhaps, a slight change in

  • Richard Avedon

    Though photography shows have been turning up quite often recently, they rarely attract large-scale public attention; their intimate ambience is not conducive to crowds, and they maintain, for the most part, a low profile. Richard Avedon, known to the fashion world through his work for Vogue and Harper’s Bazaar, assaulted this conventional diffidence when he crashed the gates of the art scene with a retrospective of portraits inaugurating Marlborough’s venture into photography. And quite a crash it was.

    The installation alone was enough to disrupt traditional expectations, for whereas most