Carolyn White’s near mural-size photopaintings of men and women weeping adopt the conventions of traditional portraiture to examine the distinctions which separate photography and painting. The product of an adapted, computerized spray-printing process, commonly seen in billboard advertising, these ten works are experienced in the gallery as a barrage to the senses; they engulf the viewer in a sea of spent tears, swollen lips, and suspect emotion.

White has created a catchall of art chic. She references the scale, subject, and pointillist technique of Chuck Close, while adopting the earnestness

Becky Singleton’s book-work entitled Four Dials, 1990, assembles in a single multi-sleeved case four of her “What Can I Say” dials made between 1984 and 1989. The dials look like palm-size picture-sizing wheels, each made of two cardboard circles riveted together at the center. The smaller top circle is cut through with a window and is meant to be revolved over the larger bottom wheel. The outer rim poses various rhetorical questions and the window on the inner rim selects the appropriate answer.

In Dial #2, the following questions appear: “What can I say on reaching out to grasp the Truth?” “