New York

Ann Healy, Louise Kramer

Ann Healy’s pieces at A.I.R. include an outdoor sail sculpture similar to the ones she has made over the past five years, and two indoor pieces which indicate a new direction in her work. The outdoor pieces are usually designed and rigged for particular sites, for the intention is to transform the specific environment—to make one aware of the effects of natural phenomena such as wind currents and the reflectivity of light. The piece at A.I.R., designed fora narrow dark street, was originally displayed at the Performing Garage. It was hung parallel to the street so that people could actually walk through one of the triangles cut out of the translucent plastic material. Since the outdoor pieces must conform to certain technical restrictions, Healy has remained within a vocabulary of geometric abstract shapes. In contrast, the indoor pieces explore more personal, irregular and variable forms. The scale of Healy’s work seems to derive from designing stage sets and doing lighting in the theater. This experience is particularly apparent in the indoor pieces, which are strongly dramatic. Composed of material hung from the ceiling and shaped as it falls, the two pieces convey a feeling of monolithic and massive presence. The eccentricities of these works suggest areas of exploration not possible in the other work—the search for archetypical form and the creation of disquieting psychological effects.

Louise Kramer, also showing at A.I.R., has exhibited three pieces. Two works involve harplike cascades of wire strung between boards near the ceiling and on the ground. There is a sense of immaterial and evanescent drawing as light flows down individual strings. This creates corridors of space, marking but not measuring distances and directions. The third piece, screens of wire mesh passing between cylinders from the ceiling to the floor, is less successful in asserting its presence.

Lizzie Borden