• Deborah Butterfield

    Zolla/Lieberman Gallery

    Several years ago, I wrote about DEBORAH BUTTERFIELD’s work and noted the connection between her horses and the artist herself, the way she used her own body measurements to determine their physical proportions, and the lack of any genitals which left them open to interpretation with any identity. Ms. Butterfield expressed dismay at that review, saying it missed the point of her work. But reviews are not necessarily the vision of the artist; for otherwise, might not artists simply write their own reviews? Shouldn’t work be capable of affecting someone rather than simply stimulating a safe

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  • Michiko Itatani

    N.A.M.E. Gallery

    I have heard a number of artists describe unexpected procedures with which their art was supposedly accomplished. Often they sounded more like fancy than reality, but MICHIKI ITATANI’s expressed technique of evolving her paintings during a sort of Oriental tea ceremony ritual rings true. Each layer of lines goes on in a set, solemn order, each line merely the visual remainder of her procedure, the ultimate result a celebration of what she was during that time, rather than any materially inspired object to be valued for itself.

    Itatani was born and schooled in Japan, where among other things she

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  • Charles Traub

    Alan Frumkin Gallery

    CHARLES TRAUB had been doing extremely strong, black and white photography in which people appeared as textural contrasts, formal elements, variations within the photo frame, vehicles for shadow and light, demarcations of a surface plane—anything but personalities with human distinction. But his recent, color Street Portraits seem to want to retract that former philosophy about photographic priorities.

    This new work resembles those four-shots-for-fifty-cent strips you get out of dime-store photo machines. Traub’s portraits are all close up, sometimes shot from below or tilted, with the city

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  • Antonio Eguino

    Chicago Filmmakers

    Made under the direction of ANTONIO EGUINO with the former militant revolutionary, now more subtly mass-oriented, Bolivian Ukamau filmmaking group, Chuquiago is intended to be a film about social classes in La Paz. But two unexpected things emerge. First, the entire content often uncomfortably resembles life in the United States, and secondly, the real tragedy, which might or might not be the product of a “class struggle,” is the total emptiness of all the human characters involved.

    The film recounts the lives of four individuals, each progressively higher up the social scale, progressively more

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