warm colurs, dull, vintage, tea stain

Result #1

, all in light browns, pale reds, and cobalt blues. Almost all the works are untitled and there are a few in the bibliography. It is possible that the artist has already decided to omit some works that seem minor (like kimchela), and the palette must be limited. It also helps that there is very little movement in the individual paintings: a certain old-master elegance in the blend of greens, blues, and browns, or in the fine control of shadows. One still gets the sense that the artist wants to be cool and all his paintings are really a recondite little washboard. He seems to be interested in art-world blurring of identities, and the fact that he has done so by editing these elements (apparently in order to defuse the inevitable questions that inevitably arise) is telling.Perhaps I should have praised the artist for the exhibition, but the result was rather all too convenient. Perhaps the unwarranted praise should have consisted in recognizing that Kimchela seems to be a really good painter. And the artist deserves some credit for noticing this. He is a good artist. He makes good pictures. When I think back to that, I can do nothing more.

Result #2

warm colurs, dull, vintage, tea stain, sour cream, color stain, crayon, pastel, graphite, pencil, and ink. The present work is a series of 36 miniature diptychs hung side by side and mounted to the wall. The miniature diptychs, which cover the top half of the work, depict a black triangle and a white circle; the white circles represent an empty, black hole. It is tempting to think that on one level the light boxes represent clouds, or a thin, solitary line. At the same time, however, the white circles seem a form of defense against penetration. The circles, in fact, are there to prevent its being looked in.The show begins with two paintings, the first entitled Side the Void, 1991. In this painting the image of the black triangle, fixed on the canvas by an ornamental metal frame, is filled in with a swirl of colored light. Beneath this swirl are several heavy rectangles, some almost solid, others almost bluish. These rectangles are repeated throughout the series, while at the same time the black triangle recedes in the distance and appears to float in front of the brush. It is as though the black light were somehow flickering through the arabesques of the form and were filled in by a signal of light.In the second painting, Periodic Table, 1991, a white-on-white form is reflected in a black-on-black painting. The horizontal, black pattern of the paintings is translated into a vertical, a punning statement on Kantian structuralism. The painted areas in question are some of the three-dimensional space within the painting, defined as a field. The white, as before, becomes a solid, but black is represented by a taut, would-be-painting-bag on the right-hand side.

Result #3

, and little tooth-picks. The first image, a long-exposure color photograph of a tiny bonfire in the woods, has become a symbolic winter wonderland in Caccavones hand. As is evident from the two-dimensional image of the bonfire, the temporary chimney is a kind of parasitical flame, a portal to the fantastical and strangely innocent.The image is also reminiscent of a photo of a redwood stump, with its lights and branches. In it, Caccavone presents himself as the de-skilled tree seller, peddling his lost-wax-bush fauna as a sort of connoisseur antiques. The ladder that hovers above the stump transforms the mundane into the magical. The image reminds us that Caccavone is a true-blue painter, one whose works can be hung in any fashion. The cropping of the image also echoes the technique of a photo enlargement, giving it a slightly altered photographic quality. We are led to anticipate the origin of the fall tree from a photograph of the stump in Caccavones previous works, in which Caccavone deliberately compromised the original image. Now, he seems to be playing with a precisely controlled photographic process that will no doubt be subjected to a recent reappraisal.

Result #4

warm colurs, dull, vintage, tea stain, etc. The ball and chain paintings look like framed newspaper, with the few exceptions of an eyeglasses piece (I am an old-fashioned artist, says this one), being equally pampered by a busy American eye that supplies the eye—which in turn supplies the cup, if that makes sense—to the art. One imagines the dizzying confusion that can result from this absurd contraction of substances, an extreme brusqueness and plainness of choice. But the difficulty is all the more remote when the artist really believes in such a brusqueness and is not an artist, and the strangeness can be seen in other ways, in some other context, as well. In the end it was only a piece of fat, an elaborate jumble of details that was actually rather liberating, as a tangle of figures came together in a spot of joint-taped bronze, in a variety of images and in a form of posing.Pulitzer, who came of age during the heyday of Abstract Expressionism, managed to get away with this brusqueness, albeit with an approximation of seriousness that was both 'punky and proto-psychedelic, and in a rather lifeless way, when the artist looked like a late-Seussian Rube Goldberg. He is an expressionist, not a visionary, and that makes sense: his fine paintings are meant to be seen with that knowledge, because they are so complex, and the art that the artist makes of them is so varied and emotional. By the time that art was being made—before the rules of his work changed—it was clear that he was an artist; his paintings are so polished as to be almost self-effacing, if not always so as well. You can walk into a show of Pulitzers work and expect the artist to be an introvert, even an introvert in the brusqueness of his design.

Result #5

warm colurs, dull, vintage, tea stain, multi-colored slab, inverted sink, ect. re-created, found, real, molded, and carved. The actual sculpture is fragile and fragile: the work is more susceptible to being grabbed and taken than to being admired. Horwitzs site-specificity is most evident when it comes to unpeopled or otherwise obtrusive canvases, such as the half-cocked head with one arm, who stares out at the viewer, or the wan portrait of a slim young girl, a kind of late-crude effort to at least hint at a personality that is at once tender and self-conscious. Horwitz is the artist as candy; the candy shes creating is, in fact, a world of promise and danger.Horwitzs sensual-esthetic combination of craft and imagination is nothing new. The influence of Paul Klee is evident, particularly in the way that the artist uses material, color, and form to symbolize the most intimate emotional states, and in the way that her work is enhanced by such a sensual content. Horwitzs work has a thoroughly contemporary look to it, but as a result it seems outdated, at least in the way that the work of so many other young female artists is condescending to such materials as castoffs and junk. There is something rather monotonous about her work, and this monotony seems meant to suggest that Horwitz is still only half-done. In a sense, she is already beginning to look like the Last, and to suggest that a new phase in her career is underway.There are several works in the show that seem to have been created by making some rather amateurish drawings. The most prominent example is a series of white paper rectangles that have been painted over in a variety of colors.