Shelly Rice

  • Francesc Torres

    Francesc Torres’ multimedia installation, The Head of the Dragon, grew out of the artist’s interest in neurologist Paul MacLean’s model of the triune brain. MacLean, according to Torres, sees the brain as something like an archaeological site, composed of three different layers of evolutionary development—the cerebral cortex, the limbic system, and the R-Complex (the deepest and most primitive layer, which dominates the brains of our evolutionary forebears, the reptiles and lizards). Though all three layers operate simultaneously in the human brain, in this installation Torres chose to focus on

  • Agnes Denes

    Agnes Denes’ recent show came as a surprise. Denes is best known for drawings that visually describe the essential structures underlying complex systems. The luscious color photographs that dominated this show seemed, at first glance, to have little in common with the cerebral yet beautiful map projections, numerical progressions, linguistic studies, etc., that viewers have come to expect from her. But for all their apparent differences, the color photographs were linked conceptually to the rest of Denes’ work, for these images were only part of a multifaceted project designed to explore life

  • Dick Higgins, “of celebration an morning”

    of celebration of morning is the latest book by poet/artist/composer Dick Higgins, an early creator of Happenings, a co-founder of Fluxus and founder of Something Else Press. In its original form, of celebration of morning was a cycle of 80 20-by 30-inch panels which have now been gathered into a large, beautiful book whose pages are montages of photographs, photo derivations, line drawings, poems, musical scores, rhetorical questions and symbols from the I Ching. Together, these pages compose a narrative or a “poly-semiotic fiction” as Higgins calls it, about a young musician/dancer named Justin

  • “Hotel,” edited by Reese Williams

    Hotel, a collection of writing by eight artists, is a sampling of the ways artists have used words—and word-image combinations—to express their perceptions of contemporary experience. According to Williams, the title was chosen because it seemed an appropriate metaphor for a book that brings together such a diverse group of people and works. “It wasn’t until later,” Williams told me, “that I also realized that a number of the pieces refer to rooms.” Almost all of the works are about transience—a rootlessness that is not geographical, but spiritual.

    A typically modern malaise permeates most of