• Lewis Baltz

    Grapestake Gallery

    Since his “New Industrial Parks near Irvine, CA” series, Lewis Baltz’s work has grown more expansive in content and at the same time more impartial in description. “Industrial Parks” brought a formalist vision to photography; stark images displayed Minimalist or reductivist interests, immediately linking them to mainstream art concerns. However, in these pictures the photographer emphasized geometric structuring to the point that attitudes central to the panoramic and traditional landscape remained unexplored.

    In the “Nevada” portfolio, 15 images shot in counties surrounding Reno, topographic

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  • Helene Aylon

    Grapestake Gallery

    In the early 1970s Helene Aylon created “paintings that change in time,” process works in which oil, dyes and paint were placed on resistant brown paper and sandwiched between nonporous surfaces such as plexiglass. The artist’s primary goal with these works was to observe the transformations that occurred after the piece was assembled. As a body of work they attracted attention for their uniqueness of both material and process. But by the nature of the technique and somewhat unprogrammed material, they lacked visual cohesiveness.

    In Aylon’s most recent work, the formative process takes place as

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  • Brian Longe

    Lawson De Celle Gallery

    A combination of spatial exploration and primitive inference characterizes Brian Longe’s compositions. After painting a paddlelike form onto a traditional rectangle, the artist cuts it out, producing an irregularly shaped work. The unbacked canvas, on which the undercoating is visible, is then tacked tightly to the wall, creating a dialogue between the smooth wall surface and the painted canvas field. The illusion produced by the convergence of wall and canvas is heightened by the isolation of the individual canvases from one another within the gallery, as well as the paddle shape, which extends

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  • Winston Tong

    Eureka Theatre And San Francisco Art Institute

    “Solos,” an anthology of ten performance works by Winston Tong, draws from an array of sources: the artist uses the works of Rimbaud, Satie, Gershwin, Nijinsky and Chopin, to name a few. He brings to these pieces his own talents as mime, puppeteer and multimedia artist. Nevertheless, in the final production craft and reference merge into a form that is more structurally varied than conventional theatre and more illusionistic (and deliberately entertaining) than the usual performance art offerings.

    Tong juxtaposes the unanticipated so that his works take on the appearance and feeling of ritual.

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