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Heide Hatry: SKIN
By Addison Parks
Instead of trying to consolidate, integrate, or reconcile each of these different avenues into the work of one artist, herself, she curiously invented several different artists, with their own name, personality, and look, who could each enjoy the drive down said avenues alone. At once Hatry has cleverly side-stepped the charge of dilettante, and two-stepped her way to Duchamp's side.
Chuck Close: CLOSE
By Martin Mugar
What took Close beyond the figurative movement was his interest in pixilation. Probably generated by the realization that as you look closer beyond the detail of the texture of each hair follicle you enter into the world of visual cognition beyond detail where the image of the face is in fact a myriad of impulses created out of the rods and cones of the eye. It is a strange reversal that as we try to pin the real down with more and more detail the less real the image becomes.
MADNESS AND MYSTICISM: THE GHOST OF GREGORY GILLESPIE
By Addison Parks
It not only meant a lot that he chose to live here too, it meant even more that in the end he chose not to. This man had done it all, and done it his way, and it apparently wasn’t enough. What did that say for the rest of us? If it wasn’t good enough for him, how could the rest of us hope to survive and flourish? The ghost of Gregory Gillespie haunts us still.
JOHN WALKER: PAINTING SURVEY 2008/WALKABOUT
By Addison Parks/Martin Mugar
These many years, these many paintings, tell this story. The call of starlight; the promise of starlight. The shit/mud/primordial ooze that we stand in as we look to the stars(AP). I thought of titling the show "Low Tide Languor;" that meditative space on the beach at slack tide where you dwell on your place in the natural cycle of birth and death(MM).
LOUISE FISHMAN: THE MACDOWELL SERIES
By Addison Parks
During this period she painted a series of small canvases which seemed to represent a significant departure from the earlier work. In point of fact, they were very different. This work marks what might be a stage not unlike the metamorphosis of a caterpillar. Fishman's MacDowell paintings are as limber and as radiant as the butterfly.
ROY LICHTENSTEIN: LANDSCAPES IN THE CHINESE STYLE
Foster Gallery; Museum of Fine Arts, Boston;
Once again Pop god Roy Lichtenstein has turned his genius loose on something old, or borrowed, or blue, and made it fun and new. We've always been able to look forward to his next move like we would a new cd by a great band, or a new book by a great author; knowing that it would change us, forever. We count on this from art, and life is gray without it.
JOHN SINGER
SARGENT
Gund Gallery, Museum of Fine Arts, Boston
By Martin Mugar
To the painting enthusiast, professional or amateur ,who admires the techniques of realism, the matching of flesh tone, the verisimilitude of satin, the glisten of a moist eye, J.SS provides a sumptuous visual feast.
INTO BESS: THE PAINTINGS OF FORREST BESS
Forrest Bess painted inspired images which, like the call of a bird, could be sensed in their entirety; gritty little paintings getting at something inexpressible, whose power and meaning were unmistakable but whose content was incomprehensible, even for him.
LESLEY DILL leaves me guessing. The nature of her work is secretive. She may give us a look at something big, a shape like a figure, but it is really an apparition. Once we get close, get inside, the work slips through our fingers and we are in the dark. What we are left with is a residue hanging in the air like perfume or smoke.
HAROLD
SHAPINSKY;MISSING LINK
Rosemarie
Trockel; TROJAN HORSE
The Promise: Bill Jensen
The Lead: William Wegman
The Flower: Sol LeWitt