David Best’s sculptures are figurative plaster armatures immersed in animal carcasses, cloth and ceramic decoration. Through these materials the artist expresses aspects of both life and death, combining cultural artifacts and natural elements into a personalized cult object. In a multitude of agonizing details his figures remind one of Bosch’s poor souls or the demonic renderings on a Gothic cathedral facade. Best uses an eclectic array of forms; suggestions of Japanese, American Indian and Christian motifs abound. The modern psyche is overwhelmed, bombarded with cultural references that resist

Four white dinner plates rest against a window in the stairwell. It could be a coincidence, until one encounters, on the second landing, a maroon succulent with silver Deco prongs. The theatre itself is encircled with scrim, tinted a dingy, desert reddish brown. On stage sit six more squat succulents and a checkerboard floor delineating a truck stop. The performance begins with cricket chirpings and a man, in total darkness, moving across stage with a glowing hot-plate. Forty-five minutes of frenetic activity, describing the saga of a waitress trapped in the banal existence of a desert cafe,

Phenomena invisible to the naked eye have always interested photographers. Marey and Muybridge, for example, both used the medium to analyze movement. In Arthur Ollman’s night pictures, color film coupled with lengthy exposures (4 to 5 minutes) reveal a brilliant, artificial spectrum of hues. He photographs in the urban milieu: a children’s playground, street intersection, blocks of row houses, industrial warehouses and beaches. His 20mm wide angle lens yields a high degree of distortion, causing buildings to loom ominously upward, and objects placed away from the center of the frame to fall