San Francisco

Doug Hall

Fuller Gross Gallery

The sculptural installations, mixed-media paintings and drawings, and other wall pieces and videotape screenings that Doug Hall arranged for this gallery show had an air of waiting out their own apocalypse—an apocalypse of excess allusion and piled-on metaphor, of dysfunctional meanings at hypercritical mass. Meaning in art is equated (in the critical sector at least) with power. Hall’s longstanding fascination with images of power, whether raw or contrived, demagogic or meteorological, has led his art to the verge of an irradiated stasis where delays or sudden outages of meaning are the norm.

Color-coded cruciform symbols limned in charcoal and shellac on square paper bristle with an inadequacy to their received content. Accumulated (and unassimilable) meanings tend to wipe each other out, or, avoiding the tabula rasa effect, their plethora equivocates. Equivocation is the edge that Hall’s

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