Stephen Prina

In Excerpts from the 9 Symphonies of L. van Beethoven, Für zwei Pianoforte zu vier Händen, Transcription pour Piano à 2 mains, and Für Klavier zu 4 Händen, 1983–85, Stephen Prina continues an investigation into the representation of cultural artifacts. Underlying this investigation are the questions of what constitutes “completeness,” and what is the point at which completeness is exhausted. To explore these questions, Prina in effect produces a palimpsest of the original, often by the manipulation of secondary sources.

The piece is an arrangement of Beethoven's nine symphonies using versions by

print May 1988

Meg Cranston

Assemblage art has proceeded along two lines: the pictorial and the enigmatic. The former developed within the context of painting and sculpture and is exemplified in the works of Schwitters and Rauschenberg. The enigmatic assemblage occurs without such reference; the makers of these objects are, to borrow a line from James Joyce, involved “in a private fantasy of calculation.” Examples exist in non-Western fetishes, many Dada and Surrealist works, and the early works of such artists as George Brecht, Bruce Conner, and William Wiley.

In her first solo exhibition, Meg Cranston continues this line