• Corey Postiglione

    Jan Cicero Gallery

    The main problem with Corey Postiglione’s work is that too much of it resembles design-school exercise. Marks, hues and shapes are so exactly appropriate to each composition that Drawing Skill becomes the pervasive subject, an overall facility which tends to make a viewer disbelieve the intended effects. How can one plan a “casual” line? Postiglione’s “receding” surfaces may indeed seem to recede, but ultimately they communicate more about how agilely he accomplished that trick.

    These large and small-scale, rectangular, circular, or square, chalk, pencil, or paint nonfigurative arrangements on

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  • Judith Citrin


    Judith Citrin’s in transit/in trance at/entranced at drawings were inspired by her recent travels in Morocco, and while ostensibly records of the various landscapes there, they are actually more of a record of her own personal merging with the area, or establishing a kind of personal territory.

    While on site, she took 35mm slides of the mountains, deserts, vegetation and skies, scenes of grand expansiveness very different from vertical city spaces with walls, which limit vision. Next, in the studio, she divided her drawings in half, on the top half rendering a version of one of the slides in

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  • Jírí Anderle, Albin Brunovský and Vladimír Gazovic

    Jacques Baruch Gallery

    Jírí Anderle, Albin Brunovský and Vladimír Gazovic are Czechoslovakian printmakers currently working in Prague. In the late ’60s, between foreign occupations, they were discovered by Americans and, since then, have continued to share traits of caricature, symbolism, and extraordinary technical facility—most of their work resembling fanatically intricate watercolor painting.

    All are social satirists. Gazovic maintains a spooky world view in which the crazed heads of royal-looking ladies have bones and nerves exposed, and in which “seeing and touching” involves whole humans amidst writhing deformed

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  • Bill Stipe

    Contemporary Art Workshop

    Bill Stipe works with what he calls “invisible relativity”—“things (like air) that we know are there but cannot see.” He presents an immediate distinction between what is physically there but mentally imperceptible, and what is mentally comprehensible but physically difficult to see. In fact, what Stipe means by “invisible” may include ideas or feelings that are usually obscured by social convention, organic and supernatural phenomena “buried” by activities of everyday contemporary urban life, words which sound important but mean nothing. Thus, his treatments make invisible synonymous with “not

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  • Fred Escher

    Walter Kelly Gallery

    “Forest Home” is an exhibition which—believe it or not—concerns “The Family,” i.e., Ricky the rat, Bushy Tail the squirrel, Peter the rabbit, and Fox. Fred Escher’s installation of drawings, photographs, stuffed animals, cleaning equipment and book/ catalog suggests the following not necessarily sequential events: Fox trails (and subsequently eats) rabbit, Bushy Tail chews nuts, Ricky kisses another squirrel, rabbit and possum play dead, Bushy Tail bares sharp teeth, raccoon hunts Fox, Ricky jumps into a box, etc.

    A lot of recent shows have been concerned with images of animals. Some post-’60s

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