Robert L. Pincus

  • Leon Kossoff

    From the thickly rendered surfaces of Leon Kossoff’s paintings, layered with drips, furrows, and painterly sweeps of oils, arise intensely personal pictures of reclining and seated female models; images of works by Poussin, Rembrandt, and Rubens; Kossoff’s own face, and scenes of Londoners trudging through the Kilburn Underground or the Willesden district of the city. While this list of subjects is varied, it also possesses an underlying consistency: Kossoff returns to the same subjects again and again because these are the people and places that move him. They are his objective correlatives

  • Jim Isermann

    As in Jim Isermann’s previous exhibitions of wall panels, lamps, clocks, and freestanding furniture, the domestic-minded sculpture here is a homage to industrial folk objects of the ’50s and ’60s. Isermann allies himself most closely with the vernacular offshoots of high Modernist design—work more eccentrically colored, more wildly curvilinear than that of Marcel Breuer, Eero Saarinen, Charles and Ray Eames, and others, upon which it performs variations. Isermann assumes this posture not to mimic vernacular craftsmen but to use their transformations of earlier designs as a stimulus for a fresh

  • Jeffrey Vallance

    Jeffrey Vallance’s Connie Chung paintings, exhibited two years ago, place newscaster Chung at the center of a field of apocalyptic images, from military hardware to atomic mushrooms. The presentation, like the style of the paintings, is quasi-naive. In this exhibition Vallance included likenesses of Jimmy Carter and Walter Mondale mounted on green cloth, in a piece made during Carter’s tenure in the White House; the painting itself is fairly nondescript, but along with portraits, Vallance displays correspondence asking for the two politicians’ signatures. Here context is all—people at the White