Steve Rogers

Rosamund Felsen Gallery

The around-the-house-and-neighborhood narratives Steve Rogers draws into and sculpts out of clay in his shallow wall-hung bas-reliefs are modest, masculine affairs. In three of the best of the 13 pieces that made up this show, mostly from 1983, he portrays himself, alone, working; in another he shows himself partying in the studio. The majority of the remaining, more crowded and complex situations—on the boardwalk in Venice, or at the boxing ring in downtown Los Angeles—are depicted through Rogers’ spectatorial eyes. His is something of a solitary world, and nice and old-fashioned in its limited circumscription. Rogers seems to like his work, cigars, a drink or two with friends, the fights. His palette of black and white glazes and the natural color of the clay puts an appropriate patina of commonsense values on these real-life scenes. They appeal to me for their gruff tenderness rather

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