Ray Kass

  • Hugh Steers

    In Hugh Steers’ easel-sized figurative works, a modern theatricality is combined with a sketchy painterly manner reminiscent of old master painting. Stripped down to their underwear and depicted in drab but radiantly lit interiors, Steers’ figures appear transfixed by inexplicable gestures. Blank or pensive facial expressions register their alienation, yet the bleak reality depicted in these vignettes is to some extent tempered by the artist’s self-conscious black humor.

    Steers invites us to share in private moments of anxious suspense or voyeuristic titillation that remain provocatively inexplicit,

  • Stanley Boxer

    In his paintings, Stanley Boxer addresses issues of pictorial and painterly tradition, more so than most of the artists who have worked with formalist color abstraction. He creates multi-leveled spaces comprising amorphous patterns of sensitively coordinated colors and textures, which offer an illusionistic panoply of shifting focal points.The transitory energy of these layered forms is resolved by simpler, more repetitive linear configurations that occur intermittently at the edges of his paintings; and it reinforces a sense of the flat picture plane. However, Boxer’s attention to the materialistic

  • H. C. Westermann

    This exhibition was the most important survey of H. C. Westermann’s work since the artist’s death in 1981. The sculptures and watercolors demonstrate a freshness and a vigorous capacity for self-renewal that is continually challenging.

    A pivotal figure in the formative period of the Chicago School, Westermann employed his craftsman’s skills and personal history with a matter-of-fact directness. He brought his imaginative intelligence to bear on a number of lowlife subjects and banal images. His immaculately subjective constructions anticipated the vast expansion of cartoon reality and funky

  • Mark Mennin

    Mark Mennin’s sculptures do not embrace the surrounding empty space in the manner of formalist abstract sculpture, in order to regain a measure of nonliteral illusionism. Rather, his static self-contained formats are developed as gridlike collages to create an almost archaeological frame of reference in which material fragments of color, surface, and image combine to recreate the illusion of abstraction and negative space.

    Anchoring his sculpture idiom within the conventions of traditional architecture and statuary, Mennin’s work addresses the critical dialogue between sculptural and pictorial

  • Hunt Slonem

    Hunt Slonem’s earlier works described a paradise in which the social and the spiritual converge with the panoply of the natural world. In these large, brightly colored paintings of the last few years, the vitality of Slonem’s flat but juicy brushwork serves the double purpose of weaving an apocalyptic, albeit charming, jungle around emblazoned icons of the endangered and deceased—groups of exotic animals, usually surrounding a healer or saint. His faux-naive manner appears to stem from a romantic attitude about painting that celebrates the resurrection of man and beast in terms of this world

  • Sue Coe

    It is difficult to be critical of Sue Coe as an artist without appearing to criticize the poignant social message evident in her dramatic representations of the socially outcast and downtrodden. But her work’s political urgency may encourage us to ask more probing questions than we do of much other art of the current “post-Modern” era. What is Coe’s sense of how to reveal content through art? Does her mode of monumentalizing content give the viewer a way to respond? How can we decide when this work is successful, either as art or as political commentary?

    Organized by the Anderson Gallery at