CONTINUING AND RECOMMENDED
EXHIBITIONS IN BRIEF
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"Gun Hill Road", o/c, 91 3/4 x 88 1/4", 1995.
One of the signal figures of Abstract Expressionism's "second
generation," Michael Goldberg has changed styles frequently
during the near half-century of his career, but has relied throughout
on painterly gesture as the basic unit. Recent canvases are as
much arenas of manual vigor as ever. But Goldberg has suppressed
his centrifugal explosiveness, semi-collapsing his strokes into
orbiting swirls and rocking bars, and his compositions into rhythmic
compressions pressing against the edges of the picture plane.
Also modified almost to the point of suppression is Goldberg's
palette, now a subtle play of bluish and blackish grays in certain
works, and soft luminous earth colors in others. Both schemata
are sometimes enlivened with foreign-seeming areas of vivid yellow
or blue. It feels as if Goldberg has placed his native sensibility
in a pressure cooker, reigning in its inherent exuberance in order
to brew an ominous intensity (Manny
Silverman Gallery, West Hollywood).
Joe Goode exploits
the coloristic properties of the unique Mixografia printmaking
process even more than he does its most salient characteristic,
its emphatic textures. Burning parts of two of the five prints
in his Pollution Series has yielded unusual textural effects,
but for the most part Goode relies on corrosively bright or darkly
murky hues to convey the effect of being surrounded by toxin-laden
air. In this respect Goode's Mixografics extend the abstract-impressionist
approach to atmospheric qualities that this curious painter-sculptor
has long practiced. "Curious," because with such work
Goode straddles several tendencies native to Southern California--Pop,
light and space, material abstraction, even conceptual art--fusing
all but belonging clearly to none. Transcending rubrics like this,
Goode's art is elusive and yet immediate and palpable, these prints
no less than his other paintings and prints (The
Remba Gallery, West Hollywood).
(1) Robert Kingston, "Orange/Yellow on White", o/c,
10 x 10", 1996.
(2) Thomas Nozkowski, "Untitled #6-119", oil on canvasboard,
16 x 20", 1991.
Robert Kingston was making a respectable name for himself
when he left his native Southern California two years ago for
the notably different climes of New York. It is clear he moved
there first and foremost for the intellectual and artistic stimulation;
he hangs out primarily with fellow artists, as he did here, and
quickly established a network of like-minded abstract painters.
The Formal Abstraction Kingston documents with the smaller,
more shippable work of twelve New Yorkers is hardly foreign to
Los Angeles. Painterly abstraction has figured as a significant
local trend in the '90s--thanks in part to Kingston himself. Now
he's functioning as an ambassador of abstraction, bringing out
some of his new friends' work to show to his old ones. Kingston
has mixed some powerful older talents such as Harvey Quaytman,
Heidi Glück and Tom Nozkowski with some recently established
figures such as Nancy Haynes and Christian Haub, as well as rapidly
emerging painters including Melissa Kretschmer, Stefan Becker,
Leslie Wayne, Richard Tsao, Ruth Pastine and Eve Aschheim--the
last another talented Big Orange product (Ruth
Bachofner Gallery, Santa Monica)
These nine photographs
of German photographer Axel Hutte are exquisite images
of the natural landscape. Shot in wintery conditions and stormy
weather, these photographs seem to depict the edge of the world.
In the photographed frame mountains appear, then disappear in
a foggy haze. In many images Hutte presents a sharp horizon line
that stops just before an atmospheric haze. Although not all of
Hutte's photographs are large, they convey the sense of infinite
space--both a welcoming and frightening concept as illustrated
in Hutte's magnificent images (Burnett Miller Gallery, Santa Monica).
Steve Schauer,"IV Pea Sea", glass/steel/argon, 15
x 68", 1995.
Steve Schauer's work with electrically produced light
shares a lot more than might first seem apparent with James Michael
Mahoney's more or less traditionally formatted paintings. Schauer
quite obviously employs new forms, materials and techniques in
the fabrication of his large wall-installed structures and panels.
Not so obviously, new technologies also inform Mahoney's large
canvases and smaller multi-paneled paintings. Schauer's engagement
of industrial materials, most especially light-producing devices,
ironically formulate into two-dimensional compositions. Their
distinguishing, and most appealing, characteristics of luminosity
and rhythmic composition emphasize their pictoriality. Mahoney
begins with pictorial reasoning, but builds, weaves and superimposes
disparate images into multi-layered apparitions whose visual instability
and informational density establish a peculiar visual space. While
Schauer's space is the insubstantial aether of light, Mahoney
metaphorically accesses another intagible arena, cyberspace (Patricia Correia Gallery,
is best known for his pop-influenced paintings done in the 1960's.
This survey presents works made between 1959 and 1995. The work
on view ranges from small paintings and collages made in the 1960's
that are part of his Great American Nude Series, to more recent
three-dimensional works made on corragated aluminum. Wesslemann
still works with large areas of flat color to make his portrait
and still life works. In this exhibition the newer works come
off the wall, becoming three-dimensional tableaux that viewers
can almost walk right into (Fred Hoffman Gallery, Santa Monica).