Ron Cooper is well-known for his fascination with light and altered perception and their relationship to classical renditions of the human figure. His early Plexiglas/resin “light traps” of the late ’60s aligned him with such light-and-space artists as Larry Bell and Robert Irwin. But since 1974 Cooper has focused on the manipulated photographic image and on ceramics, metamorphosing human detail and traditional modes of representation into process-related investigations of time, movement, light, space, and perception.

Cooper’s first photographic experiments consisted of computer-enhanced images

For several years Mike Kelley has been performing intense, angry, aggressive aural and visual scenarios and producing large-scale, cartoonlike drawings on paper which are brutal, awkward, and often shocking in style as well as content. Their subject reflects the artist’s outrage at the social and personal violence that, more often than not, has been perpetrated both historically and currently in the name of religion and truth. Kelley titled his recent exhibition “Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile: a synopsis of the heroic archetypes (male) in Western philosophy, contemporary

Among the hundreds of collaborative spectacles supported over the last five years by the Inter-Arts Program of the National Endowment for the Arts, a large number have been unfortunate alliances of artists who apparently cared little about the mechanics of collaboration, merely grafting their creations together, making expensive monsters out of mismatched parts. The Amazon, the Mekong, the Missouri, and the Nile, by Jacki Apple, Mary Jane Eisenberg, and Bruce Fowler, was more than the sum of its parts and should go down on record as a performance piece that proved the potential of interarts