Lois Renner is Austria’s wiliest painter-sculptor. More precisely, he could be called a modelmaker. But what may strike some as paradoxical is that the result of his analyses of color, form, space, and composition is always a photograph. His large-format color images show chaotic rooms overburdened with materials: accumulations of wood planks and model-making supplies, of paint cans and easels, of machines, ladders, and workbenches. The artist’s studio, in its classic or idealized form, is reimagined as an opulently decked stage that tells a tale of manual labor. The camera mixes it all into