An Exhibition of Works by Recipients of the Annual Awards in the Visual Arts

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https://archive.org/details/awardsinvisualar10sout AWARDS IN THE VISUAL ARTS lO

CARLOS ALFONZO STEVE BARRY PETAH COYNE

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JESSICA S EXHIBITION TOUR

12 June through 2 September, 1991 Hirshhorn Museum and Sculpture Garden Smithsonian Institution Washington, DC

14 September through 1 December, 1991 Albuquerque Museum of Art, History and Science Albuquerque, New Mexico

15 December, 1991 through 26 January, 1992 The Toledo Museum of Art Toledo, Ohio

Spring of 1992 The BMW Gallery New York, New York Selections of AVA 10 Exhibition FUNDERS

The Awards in the Visual Arts program is funded by

BMW of North America, Inc.

Woodcliff Lake, New Jersey

The Rockefeller Foundation New York, New York

AVA is funded in part by a grant from the National Endowment for the Arts,

a federal agency, Washington, D.C.

The program was founded and is administered by the

Southeastern Center for Contemporary Art

Winston-Salem, North Carolina I

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CONTENTS

FOREWORD 8 by Ted Potter

CATALOG ESSAY 9 by Kathryn Hixson

CARLOS ALFONZO 24 STEVE BARRY 32 PETAH COYNE 40 JAMES HAYWARD 50 TONY LABAT 56 CARY S. LEIBOWITZ 66 ADRIAN PIPER 74 ARNALDO ROCHE-RABELL 86 KAY ROSEN 92 JESSICA STOCKHOLDER 102 EXHIBITION CHECKLIST no AVA GUIDELINES/PROCEDURES 114 AVA RECIPIENTS 1981 90 116 AVA lO JURY 118 AVA EXECUTIVE COMMITTEE 119 AVA NATIONAL PROFESSIONAL COUNCIL 120 ACKNOWLEDGMENTS 122 FOREWORD

The Awards in the Visual Arts tenth annual exhibition will open at the Hirshhorn Museum and Sculpture Garden. No more fitting venue could be imagined as we celebrate the program's first decade by returning to the nation's capital where AVA's very first exhibition was held at the National Museum of American Art, ten years ago in Washington, DC. We were indebted then to the late Joshua Taylor whose vision as director of NMAA embraced and supported this program's ground-breaking concept. We are equally fortunate this year to premiere the AVA 10 exhibition at the Hirshhorn by the invitation of its outstanding director, James Demetrion. Most programs that attempt to enter the national arena take a few lumps coming out of the starting gate. AVA was certainly no exception. However as each year's group of ten American artists came forth, acceptance and recognition for these artists and the program has steadily increased. Each year the changing national network of 100 professional nominators join independently but in unison to focus their attention on evaluating and nominating a total of 500 artists from their geographic areas for consideration of the AVA award. The dedication of these knowledgeable artists, curators, educators and critics results annually in a remarkable overview of who is producing significant art, what it is, and where it is located. The Awards in the Visual Arts owes its acceptance, growth and most certainly its survival to the participation in the program of each and every artist that has responded to their nomination for consideration of the AVA award. Our National Professional Advisory Council deserves more than a special note. Their advice and recommendations have been invaluable. A program of this scope, involving ten annual awards of $15,000 each and the mounting of a major traveling exhibition with an accompanying full color catalog, calls for significant multiple-year funding commitments. The Awards in the Visual Arts has received the leadership and support of The Rockefeller Foundation since the program's inception. Currendy, BMW of North America, Inc. is completing its third year as the program's corporate sponsor. It has been a rewarding partnership and we are grateful for BMWs generous support as well as their direct participation in the opening events at each exhibition tour site. AVA has enjoyed grant support annually from the National Endowment for the Arts since the beginning of the program.

As we go to press, our nation is at war in the Gulf and our economic forecasts point to a deepening recession. Controversy has played a powerflil and political role in the arts over the past two years. These are hard times. But art, as always, will most assuredly continue to focus on critical issues of the human condition. AVA attempts to recognize and support America's artists as they search for significant meaning and creative excellence. The Awards in the Visual

Arts is dedicated to recognition and support of their search.

Ted Potter AVA Director AVA lO: 1991 by Kathryn Hixson

Lurching into the last decade of the century, intolerance and fear. Further resistance, however, American culture continues its seeming dissolution overturned the enforcement ofobscenity disclaimers, towards a socially splintered and economically and the jury system has maintained First Amend- depressed future. The now-cliched excesses of finan- ment standards. The effects of the Gulf War on cial speculation and mismanagement of the 1980s, American art have yet to be seen, but the severe have been rapidly and almost completely eclipsed damages dealt the art world by the censorship war by the monumentally huge military expenditures will continue to have chilling pervasive consequences. deployed in the Persian Gulf, in a politically com- This chilled climate had direct bearing on the plex and confusing war. choice and content of the work in the 1991 Awards The Iraqi conflict has effectively obscured the in the Visual Arts exhibit. It is to the credit of the right wing batde against public funding for the arts prestigious jury panel and AVA, that they were not that was fought in Congress, courtrooms, and art intimidated by attempts to limit the freedom of communities around the country. In the name of speech and maintained a commitment to diversity. moral decency, artwork, art institutions and fund- To the contrary, the selection of artists for this ing organizations were besieged by politicians exhibition seemed determined to include in its sur- anxious to manufacture controversy within commu- vey work that openly and responsibly addresses is- nities for political gain in an election year. AVA, sues of race and ethnicity, gender, and sexual prefer- itself, was an early victim of proposed censorship ence, themes that were singled out for attack. Though rulings. Funding for the administrating organiza- the amount of direct political intent of the artists tion, the Southeastern Center for Contemporary varies considerably, each seems to willingly position

Art, came under attack when it exhibited an art- him/herself within their specific cultural and politi- work which was grossly misinterpreted into a sym- cal economy-taking this position, not as one ofoppres- bol of subversion. These politicians and lobbyists sion, but as one of power. succeeded in establishing obscenity clauses in grants, The exercising of this power involves establishing severe federal budget cuts, and an atmosphere of the territory of the artist — which is expressed through expert manipulation of the structures body and the art. of art. The content expressed in this positioning is Also, as the art world "adjusts" to the newly central to this work, but exists in a balanced rela- depressed economy, pressure to produce commod- tionship to formal concerns. Employing traditional ity objects for the market seems to have dissipated. frameworks of painting, sculpture, and photogra- By making serial work, site-specific sculpture, and phy, the artists stretch the limits of these frame- complicated mechanical and electronic machinery, works, and blur boundaries between them, so that these artists seem less interested in the discrete sale- the media will more readily support their specific able art-object, than in creating work involved in purposes. Distr vards the autonomy and in- the experience and interpretation of art. herent value Oi dition — a pivotal disappoint- Within the contemporary artistic dialogue, as in ment expressed repeatedly throughout the eighties other disciplines, there has been a gradual, though

— is no longer the focal point, but has rather seeped concerted, effort to include the wide variety of iden- into the groundwater of this artmaking. A pervasive tities of heretofore marginalized groups, that have skepticism has, in effect, become inextricably bound been repressed by a dominant white male culture. with any use of the tradition. This doubt in given An evolving debate has detailed the consequences systems, however, is no longer paralyzing. These of these conclusions: fetishization of the margins artists are able to assume the power of the tradition and the contamination of the center, fear of institu- without compromising the potency of their individ- tional co-optation of minorities and manipulation ual and cultural positions. of rhetoric to employ reverse discrimination to re- Though the artists represented have widely vary- store an ordered status quo. A result of this ex- ing practices of making, certain similarities emerge tended controversy, is an openness of expression of by virtue of their grouping. (Though presented hi- identity. From within their specific bodies, the art- erarchically here for purposes of explication, it should ists in this AVA show, have clearly identified their not be assumed that such a system exists in any of position in their social milieu: be it as white homo- the artisfs methodology.) These artists begin with sexual, black woman, white woman, Puerto Rican the physical body as the site of creation and percep- male, Cuban exile, or white heterosexual male. Their tion. From within the body, they examine the self- inclusion or exclusion by the traditional canon or fashioning of identity, which occurs, within specific the traditionalized margin becomes irrelevant. social and historical situations. The identity and The particular social structures, within which these cultural milieu then reflects the underlying struc- identities are established, is however, of crucial rele- tures that contribute to these situations, which are vance and the critique of these structures is ofiien investigated through poetic, political, philosophical, the central content of the work. The most clear linguistic, religious, scientific, and aesthetic discourses- examples are Adrian Piper's explication of being with which to find some personal order — albeit a black and female in a dominating white male world, complex and enigmatic one — in the artwork. and Gary Leibowitz wrestling with being a white The artists in this exhibit acknowledge the neces- homosexual intellectual in a politicized homosexual sity of theoretical intellectual critique, but display a subgroup in a middle-class straight world. Arnaldo

renewed interest in the sensory experience of art. Roche-Rabell and Carlos Alfonzo freely adopt the

The work seems based in the body of the artist, and artistic traditions of Puerto Rico and Cuba, respec- the viewer is approached as a body with which to tively, to their existence in America, in the face of interact. Most of this work takes the form of instal- the stereotyping and marginalizing of Hispanic cul- lations — expanded environments that offer a com- ture here. plex experience, sometimes including sound and mov- The methods by which these critiques are ad- ing images, eliciting direct interaction between the vanced vary greatiy, but most seem to connect the art object to metaphysical systems, as well as to opted to make artwork that directly addresses the their social identities. Piper prefers the use of the specific xenophobia of white racism. Her terse di- cogent logical argument, Alfonzo the use of the rect confrontational images and texts are psycho- symbol, Coyne and Roche-Rabell the richness of social attacks on racism via rational argument, to psychology. Kay Rosen employs language-shiftiihg provide a catalyst for change. grammatical and syntactical order to disturb the Race is bodily encoded, exhibited in physical char- assumed clarity of linguistic structures. Jessica Stock- acteristics, and the effects of racism are experienced holder works within systems of representation and by the body. Piper asserts that xenophobia is also a abstraction to determine the means by which physi- bodily reaction: a visual pathology that erupts when cal experience interacts with the subconscious to one is confronted by a body different from the self. conjure up meaning. And within the distinct system By presenting photographs of black people looking of easel painting, James Hayward distills color, ges- directly at the viewer, as in the Safe series 1990, ture and material to present an immediate visual Adrian privileges their bodily presence as fact. The experience, apart from any representational or medi- viewer must confront his/her own preconceptions tative references often associated with that system. and reactions to this face of race. In a 1988 installa-

In all cases there seems to be an assumption that tion entitled Cornered^ Piper appeared on video, the work of art is quite capable of carrying the looking conservative and white, announcing that multiplicity of intentions thrust upon it, from the she is black, and then proceeds to argue that be- crudest physically to the most intricate theory. The cause of miscegenation, everyone living in America systems employed, remain relevant and viable. They is black. She threatens the stereotypical notions of don't necessarily broaden to assimilate and silence race, so that prejudicial fear will dissipate through critique, but rather sustain a newly flexible structure approaching a body as an individual. which is capable of simultaneously encompassing The body is also encoded with gender, similarly traditional coherence and radical critique. The mar- victimized by stereotyping. In a calling card (1986), gin and the center become a responsible continuity. useful in bars and clubs, she states "I am here alone Some work seems to be partially the result of free because I want to be here, ALONE.", effectively play, where unfettered manipulation of materials countering any sexist overtures. The burden of merely and processes produce unpredictable narratives. Other being a body is most urgendy expressed in her work exhibits a highly controlled specificity, con- 1989 What Will Become ofMe, in which she offers centrated to act as a catalytic agent for self-under- to donate jars of her collected hair, nails, and skin, standing and change. From their self-proclaimed including her cremated ashes to the Museum of positions of responsible empowerment, these artists Modern Art. will hopefully continue to gather more strength to Developing her identity based on blackness and forcefully assert itself to participate in and shape the femaleness. Piper directly faces the need to define evolution of art making. oneself in opposition to an "other". Very early in her artistic career, she accentuated her "otherness" in street performances, eg. walking around New ^'I want my work to contribute to the creation ofa York with a red towel stuffed into her mouth, and society in which racism and racial stereotyping no longer claimed: "I have assimilated an other into a sense exist. Viper ^ ."^ of myself . . Instead of considering her early

Adrian Piper's work is grounded in her personal experiences as a model and go-go dancer as only experience of being a racial ambiguity. She is "black" oppressive objectification. Piper uses her physical but looks "white". Having suffered the effects of identity as a force to turn selfhood into agency, to racism from both white and black camps, she has actively address the restraints placed upon her by a racist and sexist society. sition of authority using clear logic to argue that

For Piper, racism is committed in coundess spe- given categories of rationality are no longer appro- cific interpersonal interactions, perpetrated in the priate and have become rationalizations for behavi- social arena, where emotions are developed. In an or that is now irrational. She stretches the Kantian effort to bring die social realities of racism into the categories to include a rational possibility for their gallery, she presents immediately understood situ- alteration. Piper dissolves the efficacy of defensive ations of intimacy, using the simple "we" and "you" intellectualizations and rationalizations, so that we of personal conversation. By stripping away any are faced with the bodily and social experience of unnecessary aestheticized artifice or theoretical ob- the encounter: "This is real and it has everything to fuscation, the work refiases to let the viewer change do with you", (from Cornered 1988). She astutely the subject, and must directly consider his/her emo- offers the paradox of rational behaviour, wherein tional response to such statements as "We are among an ordering of the world becomes a violent limit- you." as a comfort or a threat. She, in effect, names, ing. Directly fighting racism in her artmaking, Piper or specifically points out the process of, the violence believes in the potential of art to have transforma- done to individuals of color by stereotyping, and tive power, to catalyze ideas to effect political change refuses to abstract it into a more easily consumed within the individual. diversion. By direcdy and consistently naming the problems of racism, making them tangible in every "Go Fags" Leibowitz * viewer, they cannot be ignored as only a problem of the oppressed. Piper may elicit feelings in the Gary Leibowitz unapologetically includes his sex- white viewer, of the shame of stereotyping, as the ual preference as content in his artmaking. His ho- strong black faces look out saying "We are within mosexuality has effected his awareness of his body, you" — to reverse the stereotyping process, and has shaped his creation of an identity, and touches possibly do violence to that viewer. In her audio all of his social interactions. As a white kid growing piece Safe 1990, a supposedly white viewer narrates up in the 60s in suburbia, he was imbued with all her emotional responses to being accused of racism, of the aspirations of the American Dream, while building up defenses upon defenses that only slip nursing his own typical adolescent feelings of the out as more racist behavior. Piper's aggressive art inadequacy, made to feel especially powerless be- calls for changes that happen in the decorum of cause of his sexual identity. basic human interaction, between individuals, and Leibowitz presents himself as a body, adopting urges people to accept, not just tolerate, difference. the seductively objectifying logo-name Candyass, and Using the tools of analytic philosophy, she recog- painstakingly painting canvases with the words: "Fuck nizes the basis for racism in an individual's need to Me Raw." There is a somewhat ironic yearning for define him/herself as a unified subject capable of the physical camaraderie of the high school or col- understanding experience within rational categories. lege locker room—that bastion of definitive male- "Information that violates our conceptual presuppo- ness—in his pennants inscribed with "Go Fags" and sitions threatens our belief system and thereby the "Homo State." The adolescent penmanship that cov- rational integrity and the unity of the self '.^ Ab- ers much of his work privileges that period of life straction of individuals into stereotyped groups may in which the sexual awareness of the body dictate have been an advantageous strategy for the evolu- the development of identity. Defining himself in tion of societies, but within the contemporary multi- opposition to a dominant heterosexual culmre, Leibow- cultural milieu, these abstractions are unnecessary, itz whines about his impotency to achieve normalcy and are used to further existing hierarchies of op- and acceptance, in confessional monologues with pressive power. Piper unabashedly assumes the po- which every viewer can identify. He plays on the —

lure of the disfunctional misfit, the nerd, the shy ject, and the usefiil thing.

and self-effacing lonely guy looking for approval Leibowicz's self-effacement is a "demand disguised someone we can care for, defining ourselves by as a lament"-\ In his camp, low brow and kitschy opposition. manufacture of an endless stream of artworks that Leibowitz participates in the subculture of the serve as marks of his personality, he insists that he male homosexual that holds a peculiar social desig- be included, refiising to be ghettoized, as a unique nation of being mpower—as part of the hegemony individual contributing to and part of the produc- of male power, while being powerless—in the face tion of society. of the homophobia practiced by the male power base. By diligently outing himself, he presents the "The knowledge that we have invented our world does dilemma of developing an identity that undermines not erase the possibility that we might believe in it." success. any hope for However, these terms for ^ Jessica Stockholder success have been redefined within the homosexual subculture to stand apart from—but equal to—those For Jessica Stockholder, the perceiving body is the of the dominant culture. Leibowitz goes on to dis- site for manufacturing of meaning through interac- play that the hierarchies of class and domination are tions with objects in the world. Grounded in for- equally operative in the subculture as in the rejected mal painting, her rambling sculptures have escaped dominating one. If homosexuals employ kitsch and from the privileged distancing position on the wall, camp to define themselves in opposition to the to become a more visceral part of the experienced straight-laced aspirations of cultural refinement, Can- world. The work's physical presence is a complex dyass employs similar tactics to reveal the class—and accumulation of formal tropes, and invites the viewer gender—based snobbery of kitsch and camp. Em- to walk around it, to perceive its colors, shapes, bedded in the homosexual subculture are the same weights, and temperatures, to acknowledge the ma- yearnings for elevation to a higher economic terialist base of artmaking^ as well as physical class—the American Dream—that motivates mem- material of the self bers of the dominating heterosexual subculture. Ob- This is not, however, a simple exchange, because jectification of the body, team-playing, sexual stereo- of Stockholder's specific choices and manipulation typing, our media hero-worship, are equally useful ofher material. Combining used fiirniture, old cloth, to both groups. trash, a car door, with mundane hardware materials, Leibowitz also chronicles similar activities in the she allows the referential nature of the objects to art world. By churning out endless pieces of usable join with their formal particulars in a non-hierarchi- items, plates, teddy bears, and cardboard boxes of cal relationship. Swatches of color are simultane- self-recrimination, he critiques, while participating ously illusionistic, evocative, and exist as objects, in, the privileging of the commodity status of the just as easily as the car door represents "automo- work of art as repository for the unique and tran- bile", may elicit thoughts of "car crash", while merely scendental mark of the heroicized artist. In a series being an object made of painted steel. This plethora

of paintings, Candyass wrote "I love Jeff Koons", "I of meaning in a formal setting, is analogous to the love Sherrie Levine", valorizing his elders for their wealth of chaotic stimulation confronting the established star status, and by selling $5 autographed self/object seeking to create an ordered identity within

self-portraits, he wills himself into the art personal- it. Stockholder's jumble of fragmented objects, fas- ity machine. He successfially brings artmaking back tened together just secure enough so that they don't to a middle class production of objects for the mar- fall into an entropic void, are akin to the muddle of ket, personalizing factory-made items to include his accumulated experiences that make up our person- specific doubt in the worth of himself, the art ob- alities. By stretching and confusing the categorical bounda- cording to changing juxtapositions, contexts, and ries'*, we use to define things, Stockholder tests interpretations. Stockholder's work is symbolic of the exclusionary modernist limits that separate paint- "how things are combined to become meaningful, . ing from sculpture from installation, that distin- . . how our thinking processes combine with our guishes art from the rest of society, and that re- experience".'^ strias interpretation from interaction. Self-consciously In her accumulations of the material, the social, working within the enclave of art, she unhinges the and the symbolic, Stockholder refuses to let the art usual relationship between viewer and viewed, to object remain in aesthetic isolation. She insistently create microcosmic social events, that take into ac- exposes an ideology behind the formal, a set of count the physical space inhabited and all of its priori categorizations that place a projected order attendant preconceptions. The work is dependent onto a chaotic experience, propelling aesthetics as on this terrain, especially in her site-specific installa- well as everything else. This non-hierarchical pres- tions, but Stockholder views this as an opportunity entation places art and formal perception, as equal to activate the complexity of it, as a site for social contributors to the fabrication of the world, back interaction as equally potent as, as a metaphor for, into the continuum of life. and as an abstraction of, other social activities. Within her theatrical presentations, she orchestrates materi- "Lan0ua0e is public property, and trespassing is als taken from the social world, imbues them with permitted.'' Kay Rosen a purity of form', and then re-socializes that form to allow narratives to surface. The narratives de- Kay Rosen manipulates the elements of language, velop with the sensory experience, and include the in disruptive tactics that strip the letter, word, or unexpected elements of chance and anarchy, always phrase of predictable meaning within the linguistic present in the social world, in a "phenomonology system, while regenerating these symbols as formal of sequence and lapse"'", of structure and chaos, entities that can carry new and diverse meanings. form and reference, presentation and re-presenta- Her enamel paintings are of letters pristinely brushed tion. Drawing on the viewer's and her own prior onto canvases, paper, or gallery walls, so that the experience with these categories, Stockholder, like familiar letters become formal abstract figures, and Adrian Piper, dismandes our ordered ways of think- bodies which interact with the flat ground of the ing to allow for new possibilities of social inter- surfaces they inhabit. By privileging the physicality course. of the letter and word, Rosen reminds us that the Within the social sphere, we have similar experi- activities of reading, writing, and speaking are situ- ences that create similar meanings, yet we also manu- ated in the body, in the perception of the eye, the facture distinct personal meanings which in turn motion of the hand, and the utterance of the tongue. create distinct experience. Stockholder's dismantling Employing such formal tropes as the symmetry of of order occurs as she piles up interpretative possi- the palindrome, repeated pattern or elegant reduc- bility, so that the glut of meanings "fog each other tion, she dismandes rhetoric into a formal manipu- up"" Memory and intellect mix with instinct lation this is similarly-visually-persuasive. She exclu- and intuition to amass a bundle of meanings, like sively uses industrial sign paint, in the tradition of Stockholder's bundles of trash and cloth. These the craft, to turn persuasive or informational ideas masses, though, become unmuddled as the specifics into communicatory objects, while working within become symbolic. Like the odd assortment of ob- a minimalist painterly tradition that foregrounds jects that float through dreams, the pieces of the the object-ness of the artwork as a perceived body sctilptures, interact with each other in a symbolic or presence. narrative, where meaning continually changes ac- By rearranging, re-ordering, cropping, obliterat- r

ing, and violating the "normal" order of letters and tures of context by excluding clues to specific mean- words, Rosen subverts the usual structure of the ing, so that other meanings may flourish, as in linguistic system to supply meaning. In her particu- "Imno", a neat slice of the alphabet, an abbreviation lar (dis)use of the language, she asserts that a per- enabled to stand in for a complex experience as well sonal identity is constructed through the user's in- as a simple structural truth: in the middle ofa teraction with the given system, taking on its power ft[lm no]ir. Rosen searches for "the coincidental to denote significance, while stretching its ability wedding of structure and meaning'"" in linguis- to create expression. By surgically removing and tic examples in order to exemplify that these two reattaching, or providing prosthetic replacements aspects of language, or any system, are inextricably for, the limbs of a body of text'*, Rosen's ma- bound, but not in any fixed relationship. nipulations suggest that a linguistic structure is non- Rosen re-routes reason, defined by its inner logic, sensical without a preferred continuation of its or- back into sensory experience, wherein the tasteful der through use, but that the malleability of lan- idea of "gravy" becomes the formalized presenta- guage can serve to adapt to a multitude of identi- tion of 2L £fray v. She begs the notions that language ties. Rosen's painting that reads "no melon" left to predicates knowledge, and the aesthic formalization right, reads "no lemon" right to left. Indeed, lan- can isolate meaning from expectation. In a redder guage's adaptability to personal use is crucial for its a, a greyer^ and violetter^ the imagination wills a continued existence, as the adaptability of personal comparison where none exists except in formal sen- existence is determined by its use of language. Her sory expectation, ^r^m^^wr^ painting is a self fulfill- work activates the viewer, while it activates the text, ing definition—it names itself. By laying bare the to expand linguistic meaning in physical and associ- mechanics of the linguistic order through disrup- ational, mnemonic discursions. tion of its fragile control, Rosen empowers herself

Rosen assumes that language is predicated on its and the viewer to re-establish ownership, to name social functionability. The will to communicate is oneself, and to manipulate the systematic to expand inherent in her consistent use of language to pre- the possibilities of meaning and personal communi- scribe and translate experience from the personal to cation. the interpersonal. Her depicted world of letters, like Stockholder's world of objects and forms, stands in "Jfeel it is essential that there be a human catalyst to for the complex relationships amongst individuals, personalize and individualize this role (ofthe artwork) where power structures can be undermined and re-

. . not . . general or purely symbolic." Barry positioned and overturned, by a simple reordering of elements, a re-interpretation that can blast apart Steve Barry^s sculpture literally engages the physi- the opacity ofhegemony and given hierarchies, mak- cal body. His mechanical contraptions are set into ing "any master narrative vulnerable" '^ An ele- motion, and consequendy into meaning, only by gant piece such as antititian can reduce the renown the participation of the viewer who is called upon of the famous painter's use of red into a simple to climb into, stand on, sit inside or walk on the art. contained (by a duplicated "an") repetition: "tititi". By requiring this interactive cooperation, he dis- The logically encumbered system of linguistic the- solves the usual distance between the work of art

ory neatly sequesters meaning into strict categories, and its consumer, emphasizing that the experience so that -er means more so, and double means twice, of perceiving art, and by extrapolation, the world,

but the specific use of words is contextually depend- is a corporeal experience. Complete with internal ent. In such works asfelt tip pen and^rayello, Rosen's moving parts, moving pictures, and changing sound, run-ons solidify the necessity of context, grafting the sculptures offer a complete sensory experience words onto each other. She also disrupts the stric- that is completed only when the body accepts the

15 responsibility that is a necessary component of the pation in the work blocked his/her own experience artistic experience. In a piece entitled Xanthos from of it, the bodily presence obliterating the word "see". 1986, the viewer walked on a treadmill which ran a The naming of the event cannot coexist with the film projector, as fast as the viewer could walk, until perceptual activity, as if the communication of an the still movie frames were melded into a coherent idea must preclude, deny, or mask the experience of flow of a motion: of a dead body rolling over in a it. In an earlier piece from 1985: Circes, a cast of a river. The harder one physically "worked" the more figure opens her legs, when the viewer sits them- meaning was revealed. In Teiresias from 1984, the selves down in front of and below her, as curtains mirrored reflection of the viewer is mixed with the open to reveal the mirrored visage of the viewer. image of a skeleton. Barry's activation of images of This narcissism of self-gratification is another of death fueled by lively viewers defines the body Barry's rejoinders to the incapacity of representa- through its mortality. tion to effectively promote communication. Barry asserts that the actual body attains identity Barry does, however, place a certain faith in the through, and in spite of, its representations of itself. ability of art to present microcosmic situations that In his 1989 Palladium, the viewer sat in a revolving define, inform and amplify experience. His reuse of chair that circled that charged image of self-repro- mythic fables attests to the power of abstraction as duction: the fetus. The action of walking around a a study of human behavior. In his Polyphemus (1987), sculpture was mechanized, and the circumscribing the giant singular eye of the formidable Cyclops of the object was only reproduced on film, played stared at the intruding viewer for five seconds, then in synch with the bodily circular motion, as the wandered off, bored with the specificity of the mun- viewer looked into the center fabricating his/her dane, turning the tables on the viewer. In his instal- own origin. In Sirens from 1986, Barry trapped the lation in this show, Barry offers the viewer a partici- viewer in a chair swinging back and forth, oscillat- pation in the great manufacture of the mythic west, ing before a whirling optical-illusion of a pool and to saddle manifest destiny. The horse however is a a whirlpool of glamorous media images of rock skeleton and the viewer is urged to resuscitate the stars and movie personalities, creating the meta- dead body, but only to look forward to future ab- phorical situation of the modern penchant to abne- stractions of a tamed, regionalized, marginalized, gate development of individual identities to the emu- and exploited diorama. This dire scenario or recur- lation of the rich and famous. The paucity of the ring simulation is given hopeful significance, as Barry image's ability to represent identity is underscored shares the reins with the hands of the casual viewer, in his 1989 ID booth. Inside its steely enclosure, to activate his Fifth Horse of the Apocalypse as an the viewer is urged to press a button to get his/her alternative to the four who would lead civilization picture taken against a faux- background of a roman- to destruction. Though deadly, representation con- tic landscape. Instead of getting the official satisfac- tinues life. tion of a clear two-dimensional abstraction of the self, the image of the viewer disappears (is disap- "Abstraction is that process that manifests the ideal to peared) as the "picture" is "taken". For Barry the the physical/' Hayward "identity exists as more than an image""*, and an individual cannot be reduced to a picture. James Hayward's monochrome canvases epito- Barry confronts the projection of self-image into mize and affirm the physical act of painting. His the societal realm through examination of systems thick short strokes of a thick mixmre of oil and of communication which simultaneously connect wax, uniformly, but not orderly, cover the rectangu- and separate the individual from the group. In his lar grounds that have been gessoed black to mini- 1990 machine entitled Tongues, the viewer's partici- mize any possibility of reflection. Obliterating all references to pictorialism, he concentrates on the the inadequacies of language to communicate as bodily activity of applying paint to canvas, wherein directly as the visual presence, amply reflecting the his gestural mark is expressive of the act, not of any primacy of visual culture in contemporary America. personality. In the technique he names "automatic This primacy is not exclusively modern. In a series painting", Hayward abstracts abstraction into a cir- of Icon paintings from 1987-88, Hayward refer- cumscribed encounter between artists, medium, and enced religious objects whose powerful visual pres- structure that results purely in the abstraction of the ence furthered cultural ideals. He continues to ex- interchange. ploit the picture's ability to purvey, or to dispute, The paintings are stricdy surfaces of the textural established societal concerns in his Homage to the physicality of the applied paint. The intensity of Muse: Vestal Version. The panels carry pigment that their single hued presence, isolates and forefronts will soon be scare due to Senate Bill 2111 which the unique abilit}^ of painting to be "grasped in would ban their use because of possible industrial immediate totalit}^'^°, by the perceiving eye to contamination of ground water. His title ironically the viewer. Hayward works on the pieces at exactly personifies the pure colors as chaste inviolate be- the height they will be exhibited, ensuring that the ings, their fecundity of use denied in protection of bodily making will be parallel to the bodily experi- a sacred—environmentally correct—order. ence of seeing. Emphasizing the direct apprehen- Ha}nvard positions himself within the lineage of sion of a work of art, not an understanding or a abstract painting, from Malevich and Mondrian to conceptualization of it^', Hayward asserts the Ryman to Reinhardt, but sees in the evolutionary possibility that art, and specifically abstract paint- purification of non-representation, not an endgame ing, can embody an idealized present: "A place where but a continual renewal of possibility. Within a only "now" exists."" historical continuum of making art for art's sake,

In the service of clarity, Hayward restricts himself he offers art's visual reality as contributing a unique to the visual two-dimensional field. He also severely investigation to the philosophies of being. His paint- limits his aesthetic choices, assuming a self-imposed ings are phenomenological things-in-themselves, com- procedural structure. Each painting is executed in plete self-referential objects, whose existence is con- one sitting, with a pre-mixed predetermined amount firmed only in the instant of perception. They are of a specific color, that is applied in similar strokes ideals in that they present "no-thing"^\ and are to a previously sized rectangular canvas on board, manifestations of the Aristotelian view that abstrac- so that every segment of the canvas is treated in a tions exist only in the mind. Their physical pres- nonhierarchical manner. Within the predictability ence, the vestige of their process of their making, of this system, the unpredictability of the specific empowers the mind in the physical, marrying the present flourishes, and each of Hayward's paintings abstraction to the experiential moment. "Painting is an unreproducible distinct identity. His develop- is not a compromise."'* ment of identity through a unique use of a system could metaphorically be viewed as similar to the "The rawness ofemotion . . . disarms you, makes you individual's development of a personal identity drop your defenses, so that you feel its humanness." through a given body, social structure, and commu- Coyne nication systems. The paintings stand as emblems of a rational unified self, that self that is tested by The massive bulbous bodies of Petah Coyne's

Adrian Piper, acknowledging its own limits, defin- sculptures have an emphatic presence which coming its edge as it defines itself bines the coherent strength of the willfulness of Though Hayward's abstractions carry no direct organic growth with the tenuous fragility of the social agenda, his privileging of the eye underscores chaotic realm of emotion and the unconscious. Coyne works directly with steel armatures, intuitively wrap- mythical distillation into an object, of blood line- ping layers of wire mesh to form the dense struc- age. In their fecund objectness, curvey and hairy tures that bear the mark of her physical making. and colossally glandular, they fetishize the reproduc- She coats the resulting figures with jet black sand, tive capacity of the human. In their menacing globu- clinching the accretions into unified imposing be- lar blackness, they also can be abstracted into the ings. They seem shaped like organs; hearts, stom- destructive malignant growths of disease that mu- achs or livers extracted from the human being with tate healthy existence into self-destruction. Coyne blood vessels left dangling. Abstracted from the simultaneously avoids the violence of abstraction body, the sculptures have as specimens of the bio- while presenting its violation. logical processes that pump, nourish, and distill what She presents an organic present that includes the

we experience as life. physical body, which carries within it an emotional When physically confronted, the specific pieces and psychic complexity which, by definition, is inac- assume personalities as unique identities, according cessible, but only as defined. Her objects seem to to their particular shape or projected "demeanor". be emotions or psyches—dark and unimaginable Their blackened mute mystery is compelling in its and stoically deferred—but still willing to try to constraint, luring the viewer to coerce a disclosure. communicate, by sheer proximity, a connection be- Because there are no points of sympathetic en- tween living things that continually exists at the try—they have no eyes—it becomes necessary to nemesis of life before death. approach them as closed bodies, not dissimilar to how human interactions ascertain presumed person- "The important thing is not to he fart ofthe body ality in other based only on physical apprehension. count.;" Roche-Rabell '^^ Coyne seems to join identity to the body as a tenta- tive restraint. Her apparently massive figures are The ravaged surfaces of Arnaldo Roche- Rabell's usually suspended from the ceiling with thick black- canvases are the literal sites of the artist's physical ened knotted ropes, their bulk hanging within inches communion with his subjects and medium. Nar-

of the floor. The weight of their personalities is rowing the rift between representation and the rep- held in a perilous position, feebly relying on a sup- resented, Roche-Rabell wraps his models with can- port from above to keep them uplifted, or perhaps vas, and applies paint to the enshrouded body in a more poignandy, adrift. peculiar ritualized art-making that is a material en- Coyne's sculptures present a solitariness that de- actment of the passionate struggle to communicate fines the space around them as a separation from feeling with paint. Using his hand, brushes, and other beings, forbidding tactile communication. Their kitchen tools, Roche-Rabell covers the surface of presences recreate the contemporary social experi- the figure creating a sort of active reverse frottage. ence where bodies interact in huge groups, never The resulting images are distorted descriptions of touching. This alienation within society can be ex- the subject, the body is bodily recreated, through a trapolated to the society's exploitative relationship transformative rite, onto a two-dimensional surface. with nature. Some of Coyne's earlier work incorpo- Roche-Rabell rubs other life-forms and symbolic rated twigs, roots, dirty sludge, oil and swamp muck objects onto his canvases, their shapes merging with into entities of decay. Coyne presented the quan- the figures in a record of the artist's temporal inter- dary of the ruination of ecological systems, upon action with them. which our bodies are dependent. Her more recent Roche-Rabell has said that he wishes to "re-

work is a more abstracted and internalized manifes- invent myself in the physical act of touch"^^ In tation of these societal contradictions. a series of self-portraits he has loaded canvases with The sculptures have the authority of the totem, a layers of variously colored paint, and then scraped

18 away at the layers until his image is left. For Roche- understanding of mortality.

Rabell the identity is continually formed and re- Roche- Rabell depicts the effects of the marginal- formed by an accretion of physical experience and ized psyche as it is manifested in the symbolism of communication, and a stripping away of conven- dreams and religion. The crucified body, martyred tion to access the inner spirituality and desires of in the service of its representability, denies any pre- the body. He has also said "I want to reinvent tense of art or religion to contain itself in either the "^^ myself as a child, in touch with the forbidden. specific or the symbolic. Roche-Rabell consistently Roche- Rabell spends his time in the States and presents the liveliness of physical existence to fur- in his native Puerto Rico, drawing from both rich ther, mutate, enlarge, and redefine the traditions heritages; from the symbolic mixture of voodoo through the vital human body. The iconic depic- and Catholicism in the Caribbean to the figuration tion of the inseminating active male and the pro- of the Chicago Imagists, influenced, as well, by the creative protective female fiise into a troubled cele- western art historical tradition of surrealism, cub- bration of the human capacity to continue itself, in ism, and magic realism. In assimilating the mixture bodies, in pictures and in love, and to not succumb of cultures, he has depicted the contradictions in- to an interiorization of any sort of oppression. herent in the necessity and in the impossibility of assimilation. In a self-portrait from 1986 Tou Have

. . the hand ofthe enraptured viewer strokes the to Dream in Blue, Roche- Rabell presents himself as water, and image is revealed as disguise Labat^'' a black man with blue eyes, confusing racial features which dictate identity. He unabashedly exudes the Tony Labat gives an underhanded primacy to the flamboyant emotional intensity stereotypically asso- image of the body, the surface appearance that pro- ciated with Latin American culture, not as a ploy, jects the identity, while being subjected to the gaze but as a vital part of his heritage and his personality. of desire, judgment, authority or, literally, self- His use of Christian iconography fiised with an reflection. In his various sculptural installations, he

African based spirituality is typical of the Caribbean often mixes video footage and in situ live transmis- heritage, but is employed to express his extremely sion, with solid figural objects, so that the viewer is personal involvement in contemporary life. His ob- confronted with a medley of appearances. The juxta- session with immediate physicality, of his subjects position of the physical "reality" of the objects and and of his own body, seems to help to ground his the "fictive" elements of edited tape with the "live" experience in the sensual, to counter the cultural transmitted image of, in many instances, the viewer's flux, the racism and sexism and general xenophobia own body conftises the hierarchy of image projec- of the variety of cultural entities he encounters. tion/reception for claims to a true representation.

For Roche- Rabell physical touch is identical to For Labat the surface veneer of the body is the being 'in touch' — with the emotional, social, sex- place for the forming of an identity-through make- ual, cultural, and spiritual complexities of the hu- up, fashion and haircut the individual projects what man existence. He collapses the conventional hierar- he/she considers a desirable appearance. In the use chies that splinter the self, as he deflates any cultural of video, Labat references, and sometimes borrows arrogance that would afford privilege to any set of from, the realm of popular television, where the ideologies over another. In his self-portraits the in- image reigns paramount, effectively urging its con- tensity of his depicted eyes gaze—glistening—into sumers to continue its image-obsession into their the viewer's, in direct confrontation and immediate personal habits. The creation of this desirable sur- sympathy. His development of cultural identity in- face, however, is exposed by Labat as also a distanc- cludes the immediate physical experience of sexual ing mechanism, a facade or disguise that protects intimacy as equal to the species' quest for symbolic the interior complex reality. As the video camera flattens a three-dimensional small television separated from its object of scrutiny experience onto a two-dimensional surface, what is by an obscuring curtain, as if efforts for peace can lost in translation is gained in authority by the framed be watched, but never set into motion. transmission. The abstraction of the scene onto the Labat operates within the disjunction between video screen, deems it a solid significance. This ele- the subject and its representation to investigate the vating leveling is also examined by Labat in his use splintered self As a Cuban exile transplanted to San of caricatures of the human body: puppets, faux- Francisco, Labat presents the multiplicity of cul- renaissance sculpture, stuffed animals, and dolls, tural influences that are spliced together to create Though these often superficial imitations are con- ethnic, social, and political identities. In the rapid fined to a single expression and costume, a de- fire video editing and democratic selection of ob- humanized simplicity, they are also great reposito- jects for installation, the work continually flips chan- ries for emotional expression. In his 1989 Monu- nels, as diverse information coalesces into a loose ment, Labat sprayed a veneer of white insulation fragmented accumulation. In recent work, he stitched foam over a mound of stuffed animals, sparing a together kitschy popular paintings, in a pluralistic lone coated teddy bear from the heap. By denying Duchampian gesture, that melds the sentimentality the seductive identities of the soft cuddly toys, La- of the familiar images into an aesthetic whole that bat effectively reveals their ability to function as maintains the autonomy of the fragments' associa- caricatures or as comforting abstractions. tions, that embraces without suffocating the diver-

The image of an abstracted identity is useful for sity of cultural codes and manufactured appearances. survival, yet dangerously fragile in isolation. In a Labat consistently assimilates popular everyday videotape from the mid 80s Labat used hand pup- culture into his work in an effort to emphasize the pets to express the deepest of emotional communi- connection of art with the larger culture, fusing the cation, yet in his David and Goliath JF, in this AVA gallery with the street. But he consorts primarily exhibition, one video monitor projects an image of with the contradictions, solipsisms and exclusions himself, trying desperately to stuff a clown puppet, inherent in the given art system. In his David and perhaps a surrogate for his own identity, into a Goliath IF, black and white video footage narrates suitcase. If Labat is trying to protect his image from the seduction of promises offered the young artist, manipulation, salvaging it in a portable case, the a succulent beef sandwich, in order to compromise gesture could be seen as a reaction to the ubiqui- or destroy his/her idealism, stabbed in the assimi- tous manipulation of the individual in our society. lated stomach by the empowered establishment. La-

He uses surveillance cameras as a metaphor for the bat's narration is not a lament, but part of his ongo- unseen powers that monitor our activities. Though ing expose. As the artistic undercover agent, he these devices are supposedly forms of protection, catches the institutions, using their own expensive they also capture the unwitting passerby for possi- surveillance systems, in the act of bribery and tor- ble institutional oppression or aggression. ture. With his hidden cameras, he also catches his There is a gap between the surveilled and the viewer in the act. Enticing the participant with an- surveillance image that is one of distance or dis- ticipated meaning—the bribe of the proper aestheti- placement, that undercuts the power of the looker. cized environment—Labat merely inserts the com- Crimes in progress may be watched but not pre- plicity of the viewer receiving the pay-off, so that vented. Also, the pictures that come flowing from the system remains intact. As in the iconization of the television set do not offer any possibility for the religious motifs, the work enshrines the holy body, viewer to have any effect on the depicted situations, though broken into shards, re- accumulated into al- as in Labat's Bi^ Peace installation of 1987 in which tars and reliquaries, but always within the parame- a giant golden peace sign was monitored onto a ters of some back-room Vatican dealings in grant- ing sainthood. For Labat, canonization is tortu- as he struggled to break with the past to confront a ously physical, for the maker, the consumer, and the violent present. In 1990, reacting to personal trag- institutional grantee. edy, witnessed criminal violence, the ravages of the AIDS epidemic, and the generally grim social situation around him, Alfonzo painted a series of "Black" . . the light ofwhich he speaks . . . transcends one and paintings, limiting his palette to dark browns and ^° many lives." Alfonzo blacks punctuated with white and red linear ele- Carlos Alfonzo's hermetic iconography of em- ments. The hectic exuberance of the earlier work

blems abstracted from the body is a fusion of the gives way to more sober spare compositions domi- act of painting with diverse cultural influences, in nated by a singular "head" shape, accompanied by the service of potential symbolic order which medi- symbols further obscured in darkness.

ates between the personal specific and a universal This new contemplative work is funereal, in its spirituality. Executed in energetic, though anguished, mournful appearance, but also in its ritualistic cele- thick brushstrokes, the paintings serve as the site bration of life through the respect for the dead. where the artist physically wrestles with his me- Underlying Alfonzo's continuous use of symbols is dium to wrench form from the obscured uncon- a belief that the genesis and dissemination of the scious. symbolic fulfills a necessary desire to maintain an Alfonzo's canvases are packed with frenetic forms abstracted order that can pass from generation to in violent interaction in a shallow pictorial space. generation, and across cultures. This desire is not a

The direct primitivist style belies the influence of rational one, but is located in the body and the his native culture of Cuba. The quirky ideograms, emotions; where an evil eye, or a pierced tongue of heads, evil eyes, tongues, hearts, penises, a dagger can be used as psychological protection against an and a spooky grin have a calligraphic quality that adversarial gaze or word. The symbolic codes serve directly references the ritualistic pictograms of to bind members of a society together in common Santeria, the Afro-Cuban hybrid of African relig- usage, as well as to carry a historical narrative tradi- ion and Catholicism. Alfonzo hybridizes much more tion crystallized into reverberating unities. For Al- than local folk imagery, however. His truncated fonzo, whose experience has severed him from friends, objects and harsh juxtapositions draw from the neth- family, culture, and homeland, his anguished use of erworld of surrealism, and they are trapped in the the symbolic is perhaps the most direct attempt to fractured animated space of cubism. Alfonzo has sustain his tradition. lived in Miami since 1980, and his work combines In the face of the violence of separation, Alfonzo the influences of European and Latin American tra- offers the connection of spirituality, in the symbolic ditions, with the vivacious heritage of American and in the act of art making. Shrouded in Rosicru- Abstract Expressionism. His identity, not restricted cian secrecy, his personalized selection of symbols to any particular dominating style, is forged in the includes the spiral, moving forever inward and out- confluence of styles, which continually evolves with ward, the cube, as location of creation and eternity, experience. and the regenerative penis. In use, the symbol con-

In his paintings from the mid to late 80s, Alfonzo tinually regenerates itself, and in turn regenerates used bright colors on canvases filled with activity, the connective power of its user. Within the tradi- his abstracted shapes interlocking in a frozen flurry, tion of symbolic painting, Alfonzo reaffirms the representing the deafening cacophony of contempo- significance of the symbol in emotional and cultural rary life, especially that of a Cuban exile traveling experience and his work exemplifies the capacity of in the American culture-scape. He seems to have painting to define and purvey the continued possi- pictorialized the painful disjunction of emigration, bility of a symbolic order. Postscript

Because of the war in Iraq, the concerns of the artists in this AVA exhibit seem rendered more appropriate to the lurching contemporary situation. The mechanical and electronic abstractions of the military defensive, coolly transmitted by a controlled televised press, have been eclipsed by the reality of mutilated, burned, and destroyed bodies of individuals. As members of the various cultures participating in the fray, the cultural differences have been amplified into stern patriotisms that tout, in turn, their particular religious and moral heritage as symbolic unities that demand protection unto death. Rarely, the individual fear and loneliness of the participants slips through in this completely psy- chologized war. It should be noted, with hope, that

sexual activity among the allied troops is healthily rampant. The efficiency of satellite broadcast and

laser-guided weapons, is being mirrored in recent artwork that already addresses the reality of this brief experience in a new war-time society. From their positions of strength, grounded in the body, the identity, the social and the metaphysical, the artists selected for the 1991 AVA support an optimistic assessment of the state of artmaking in America.

Kathryn Hixson is the Chicago correspondent for ARTS M.a£iazine as well as a contributing editor to the New Art Examiner. In addition, Ms. Hixson has contributed reviews and essays to a variety ofarts publications.

Dedication

I dedicate this essay to the life and work of Carlos Alfonzo, who died of AIDS, on Tuesday February 19, 1991. I trust that his work in this show will serve as inspiration for continued struggle to pro- cure adequate treatment of AIDS victims, and for further commitments for medical research. In his artistic achievements, Carlos Alfonzo still lives. - K.H. 'Piper, Adrian; "Xenophobia and the Indexical Present"; in '"MaUette, Karla; "Ideas: Sendments/Opinions/Observations: Reimagirig America: The Arts ofSocial Change^ Eds. Mark O'Brien Tony Labat" and Craig Little; New Society Publishers, '«Blanc, Giulio V.; "Carlos Alfonzo's Black Paintings" in Philadelphia, PA, 1990; p.285. publication for "Carlos Alfonzo: New Work; Bass Museum of ^Mayer, Rosemary; "Performance & Experience"; ARTS Art; Sept. 28-Nov. 11, 1990. Magazine: Dec. 1973; p. 73.

^Berger, Maurice; "The Critique of Pure Racism: An Inter- view with Adrian V[^^cr"\ Afterimage; October 1990; p. 7.

•*Leibowitz, Gary; "Wheel of Fortune"; Stux Caller)' Installation; 1989. ^MiUer, John; "CANDYASS"; ^rf/orwm; Dec. 1990.

''Stockholder, Jessica; Quoted in exhibition catalogue A Climate ofSite; Galerie Barbara Faber, Amsterdam: Jan./Feb. 1989.

'Spector, Nancy; "Jessica Stockholder"; Contemporanea: Summer 1990; p. 116.

"Nickas, Robert; 'The State of Things"; Flash Art; March/April

1990; p. 131.

'Spector, ibid

'"Avgikos, Jan; "Jessica Stockholder"; ^mcn'^f; Summer 1990; p. 78.

"Conversation with the artist; Dec. 1990.

'Tnterview with Klaus Ottman; Fall 1990. ''Rosen, Kay; "RSTUV, or Volkswagons Rust"; presented at Mountain Lake Symposium XI; Richmond, VA; Nov. 1990.

'^Rosen; ibid

''Kirshner, Judith Rossi; "read read mscns'''; Artforurn; Dec.

1990; p. 91-95.

"Rosen; ibid

"Barry, Steve; Artist's Statement; 1990.

'^Conversation with the artist; Dec. 1990.

'''Hayward, James; "On the Nature of Abstraction: Report"; Artist's Statement 1978. A ^ ^"Colpitt, Frances; "Abstraction at Eighty: Theory and Experience of Painting"; exhibition ca.ta.\og Abstract Options; University' Art Museum; University of California, Santa Barbara; 1989.

-'Gilbert-Rolfe, Jeremy; "The Current State of Non-representation", Visions; Spring 1989.

"Hayward, ibid

^'Gilbert-Rolfe; ibid

^^Conversation with the artist, December 1990. "Coyne, Petah quoted on the work of Eva Heese; Hayt- Atkins, Elizabeth; "The Anxiety of Influence"; Contemporanea; Sept. 1990.

'Title of painting by Roche-Rabell 1990.

"Conversation with the artist; Jan. 1991.

'''ibid

23 CAFILOS ALFONZO Blood 1991 oil on linen

96 X 132 inches Witness 1990

oil on linen

84 X 84 inches

26 Home 1990 oil on linen

120 X 84 inches CARLOS ALFONZO

Born 1950, Havana, Cuba 1988 "CoUiding: Myth, Fantasy, Nightmare", Artists Space, Deceased 1991, Miami, Florida New York "Emergence", River North Concourse, Lower Level Education: Gallery, Chicago, Illinois

Academia San Alejandro, Havana, Cuba, 1973 "Mira! The Canadian Club Hispanic Art Tour III", University of Havana, Cuba, 1974-1977 Los Angeles Municipal Art Gallery, California "Three from Miami", John and Mable Ringling Grants/Awards/Fellowships: Museum of Art, Sarasota, Florida 1984 National Endowment for the Arts 1987 "Art Against AIDS", Frances Wolfson Art Gallery, 1983 Cintas Fellowship Miami-Dade Community College, Florida

Solo Exhibitions: "Challenge: Young Latin America on Paper", CDS, 1990 Greene Gallery, Coral Gables, Florida New York "Hispanic Art in the United States", Osuna Gallery, Washington, D.C. Museum of Fine Bass Museum of Art, Miami Beach, Florida Arts, Houston, Texas 1989 Greene Gallery, Coral Gables, Florida "Outside Cuba: An Exhibition of Contemporary Lannan Museum, Lake Worth, Florida Cuban Artists", Zane ZimmerU Art Museum, Rutgers University, McMurtey Gallery, Houston, Texas New Brunswick, New Jersey 1988 Frances Wolfson Art Gallery, Miami-Dade "Public Art Indoors", Miami-Dade Public Library, Community College, Florida Florida Bacardi Gallery, Miami, Florida "Visions of Self: The American Latin Artists", South Greene Gallery, Coral Gables, Florida Campus Art Gallery, Miami-Dade Community Osuna Gallery, Washington, D.C. College, Florida Hal Bromm Gallery, New York "The 29th Annual Horn Memorial Competition and 1984 Galeria Ocho, Miami, Florida Exhibition", Ft. Lauderdale Museum of Art, Florida 1986 "Abstraction: Four from Latin America", Frances 1978 La Tarde y Sus Dibujos, Cuba 1977 Museo Nacional, Havana, Cuba Wolfson Art Gallery, Miami-Dade Community 1976 Galeria Amelia Pelaez, Havana, Cuba College, Florida "Carribbean Art: African Currents", MoCHA Group Exhibitions: (Museum of Contemporary Hispanic Art), New York 1991 "Whitney Biennial", Whitney Museum of "Expatriates", Thomas Center for the Arts, Gainesville, American Art, New York Florida 1990 "The Decade Show", MoCHA (Museum of "Home Sweet Home", Hal Bromm Gallery, New York Contemporary Hispanic Art), New York, traveled "Hot Off the Press: Monoprints", Barbara Gillman to The New Museum of Contemporary Art and Gallery, Miami, Florida The Studio Museum in Harlem, New York "V Bienal Iberoamericana de Arte", Instituto Cultural "The 11th International Art Exposition", Navy Pier, Domecq, Coyoacan, Mexico Chicago, Illinois 1985 "The Art of Miami", Southeastern Center for 1989 "Critic's Choice: Florida Experts Choose Florida Contemporary Art, Winston-Salem, North Carolina Artists", Boca Raton Museum of Art, Florida "NEA/FeUowships Artists, Florida 1983-84", Florida "Made in Florida", University of South Florida Art State University Gallery and Museum, Tallahassee Museum, Tampa "New Works", INTAR Latin American Gallery, "Southern Expressions: Points of View", High New York Museum of Art, Adanta, Georgia "North of the Border", Nexus Foundation for Today's "The 10th International Art Exposition", Navy Pier, Art, Philadelphia, Pennsylvania Chicago, Illinois "Public Art Process," North Miami Center of "The 41st Biennial Exhibition of Contemporary Contemporary Art, Florida American Painting", Corcoran Gallery of Art, Washington, DC

28 Commissions: Ahlander, Leslie Judd: "The Textuality of Painted 1990 Florida International University School of Surfaces", Carribbean Review, Spring, vol. 16, no. 1, Engineering and Computer Science, Miami pp. 28-39 1986 Art in Public Places Program, Dade County, Miami, Turner, Elisa: "At the Galleries", The Miami Herald,

Florida April 21, p. B-6 Turner, Elisa: "Art, Destiny Lead Alfonzo to the Door Bibliography: of Greatness", The Miami Herald, May 29, pp. K-1, 1989 Corbino, Marcia: "Mira! Outside Cuba Fiera de Cuba", K-4 ART PAPERS, January/February, vol. 13, no. 1, pp. Hughes, Robert: "Heritage of Rich Imagery", TIME, 61-62 July 11, p. 64 P.: Conversation with Carlos Herzberg, Julia "A Altabe, Joan: "Three Florida Artists Paint with Alfonzo", Latin American Literature and Arts Emotion", Sarasota Herald Tribune, July 24, p. G-2 5-10 (New York), Januar)'-June, pp. Ahlander, Leslie Judd: "Varied Exhibitions Focus on Milani, Joanne: "Florida Exports", The Tampa Tribune, Latin Cultural Tradition", Miami News, September March 12, 11, 61 pp. 16, p. C-2 Turner, Elisa: "Passionate Abstractions", The Miami Hassold, Chris: "Hispajiic Art in the United States", Herald, March 29, D-6 p. ART PAPERS, September/October, vol. 12, no. 5, Risatti, Howard: "Carlos Alfonzo", Latin American Art, pp. 52-54 Spring, p. 152 Pau-Llosa, Ricardo: "Glass Dragonfly", Arr Richard, Paul: "Strange Dreams & Stale Attractions", International, Winter, pp. 63-66 Washington Post, April 5, pp. D-1, D-8 1987 Blanc, Giulio: "Carlos Alfonzo", The Miami Reporter, Addams Allen, Jane: "Biennial Focuses on Southern May, p. 15 The Times, E-5 Gothic", Washin^on April 7, pp. E-1, McBride, Elizabeth: "Hispanic Art in the United States", Kohen, Helen: "Critic-Curators Compile Uneven Show", Artspace: Southwestern Contemporary Arts Quarterly, The Miami Herald, April K-4 9, p. Fall, pp. 30-34 Fox, Catherine: "A Different Look at Landscape", Stevens, Mark: "Devotees of the Fantastic", Newsweek, Gwinnett Daily News, May 20 September 7, pp. 66-68 Turner, Elisa: "Carlos Alfonzo", ARTwfiv^, May, McCombie, Mel: "Hispanic Art in the United States", 175-176 pp. ARTnews, September, p. 56 Michael: "30 Hispanic Artists at Kimmelman, Brooklyn Beardsley, John: "The Hunt for Hispanic Treasure", Museum," The New York Times, June 9, p. C-21 Museum &'Arts Washington, September/October, Kramer, Hilton: "Brooklyn Museum Hispanic Show, pp. 50-53 A UNESCO-Type Approach to Art", The New York Ennis, Michael: "Arte Magnifico", Dossier, October, pp. Observer, July 3-10, pp. 1,17 58-63, 84-87 Larson, Kay: "Sex and Politics", New York Magazine, 1986 Kohen, Helen: "Public Art Brightens Metrorail July 17, p. 51 Stations", The Miami Herald, September 5, pp. K-1, Seeman Robinson, Joan: "Carlos Aliomd", Artforum, K-2 September, p. 152 Plagens, Peter: "Miami Slice", Art in America, Sullivan, Edward "Hispanidad.^ Myths and Realities J.: November, pp. 32-35 of Latin Art in America", ylrff en Colombia, no. 41, pp. 60-66 Catalogs: 1988 Ennis, Michael: "Latin Legacy", ^wencaw Way, 1990 "The Decade Show", MoCHA (Museum of

January 1, pp. 55-57 Contemporary Hispanic Art), New York, essay by Kohen Helen: "On Campus: Quick Studies in Fresh Julia P. Herzberg Art", The Miami Herald, January 8, pp. C-1, C-12 1989 "Critic's Choice: Florida Experts Choose Florida Ahlander, Leslie Judd: "Two Shows Draw from the Artists", Boca Raton Museum of Art, Florida Geometric Abstract", The Miami Herald, January 22, "Made in Florida", Universit}' of South Florida, Tampa,

p. C-3 essays by David W. Courtney and Joseph Jacobs Butcher, Joanne: "Hispanic Heritage Celebration", ART "Southern Expressions: Points of View", High

PAPERS, January/February, vol. 12, no. 1, p. 43 Museum of Art, Atlanta, Georgia, essay by Carrie Przybilla

29 "The 41st Biennial Exhibition of Contemporary American Painting", Corcoran Gallery of Art, Washington, D.C., essay by William A. Fagaly 1988 "Colliding: Myth, Fantasy, Nightmare", Artists Space, New York, essay by Michael Auping "Mira! The Canadian Club Hispanic Tour III", Municipal Art Galler}', Loss Angeles, California, essay by Susan Torruella and Ricardo Pau-Llosa "Three from Miami", John and Mabel Ringling Museum of Art, Sarasota, Florida, essay by Joseph Jacobs 1987 "Hispanic Art in the United States", Museum of Fine Arts, Houston, Texas, essay by Jane Livingston and John Beardsley "Outside Cuba: An Exhibition of Contemporary Cuban Artists", Jane Vorhees Zimmerli Art Museum, Rutgers Universit}', New Brunswick, New Jersey, essay by lleana Fuentes-Perez and Ricardo Pau-Llosa "Public Art Indoors", Miami-Dade Public Library, Florida, essay by Cesar Trasobares "Visions of Self: The American Latin Artists", Miami-Dade Community CoUege, South Campus Art Galler}', Florida, essay by Giulio Blanc

Collections: Art in Public Places Trust, Miami-Dade County, Florida Oscar B. Cintas Foundation, New York Corcoran Galler)' of Art, Washington, DC Federal Reser\'e Bank, Washington, DC Lannan Foundation, Los Angeles, California Lowe Art Museum, University of Miami, Florida Miami-Dade Public Library System, Florida Museo de Arte de Ponce, San Juan, Puerto Rico Museo Nacional, Havana, Cuba New Orleans Museum of Art, Louisiana The Prudential Insurance Company, Washington, DC John and Mabel Ringling Museum of Art, Sarasota, Florida Southeast Bank Corporation, Miami, Florida

STEVE BARRY Conservator (The Fifth Horse) 1991 horse skeleton, steel, plexiglass, motor, electronics, projected image 84 X 96 X 60 inches Tongues 1990 mixed media

192 X 96 X 60 inches (reproduced only)

34 Palladium 1989 mixed media

60 X 156 inches in diameter (reproduced only)

35 Poseidon 1988 mixed media

120 X 528 X 120 inches (reproduced only)

36 Aeolus 1988 mixed media

276 X 840 X 60 inches (reproduced only) Polyphemus 1987 mixed media

60 X 156 X 48 inches in diameter (reproduced only)

38 :

STEVE BARRY

Born 1956, Jersey City, New Jersey Bibliography: Barry: Storefront for Art and Resides in Corrales, New Mexico 1989 Phillips, Patricia: "Steve Architecture", Artforum, January Education: Lipson, Karin: "Taking Part in Downtown Art", School of the Visual Arts, New York, B.F.A., 1980 Nnvsday, May 9 Hunter College, City University of New York, M.F.A., 1984 Brenson, Michael: "Art 'Engagin Objects', Audience Participation in Cultural Zoo", The New York Times, Position: May 30 Assistant Professor, University of New Mexico, Albuquerque Jenkins, Jim and Dave Quick: "Motion, Motion: Kinetic Art", Perigrine Press, 46-49 Grants/Awards/Fellowships pp. Lovejoy, Margot: "Postmodern Currents: Art and 1990 National Endowment for the Arts Artists in the Age of Electronic Media", U.M.I. 1988 National Endowment for the Arts Research Press, p. 257 New York Foundation for the Arts 1988 Neilson, Melanie: "Steve Barr)", OFFBAMP 1987 New York State Council for the Arts Magazine, March, vol. 1 1986 National Endowment for the Arts Finklepearl, Thomas: "Amusement Resistance", 1985 Clocktower National Studio Grant, New Obsenmtions, May Institute for Art and Urban Resources Huntington, Richard: "Watch Sculpture Take Shape", Solo Exhibitions: The Buffalo News, July 3 1989 University of New Mexico Art Museum, Albuquerque Huntington, Richard: "Sculpture Offerings at Artpark 1988 Storefront for Art and Architecture, 97 Kenmare Street, Display a Lot of Imagination", The Buffalo News, New York August 26 1986 "Xanthos", White Columns, New York Patterson, Tom: " 'Art and Motion' at Wake Forest is a Fascinating Exhibit", Winston-Salem Journal, Group Exhibitions: October 23 1991 "Photons, Phonons, Electrons", Jacksonville Art Wosk, Julie: "P.U.L.S.E. Exhibit \9?,T\ LEONARDO Museum, Florida Magazine "Mechanika", The Contemporar}' Arts Center, 1987 McGreevy, Linda: "P.U.L.S.E., Endlessly Fascinating, Cincinnati, Ohio Intermittently Hilarious", Portfolio Magazine, 1990 "International Sculpture '90", International Sculpture April 28 Center, Washington, D.C. Heartney, Eleanor: "P.U.L.S.E. at 420 West "Inter-Disciplines", Center for Contemporary Art, Broadway", Art in America, July Sante Fe, New Mexico Morgan, Robert C: "The Spectacle in Time: A New "Improbable Machines", Santa Barbara Museum of Art, Look at Art and Technology^', ARTS Magazine, California October "The Human Condition", City Gallery, New York Harris, Patty: "Interview with Steve Barry", 1989 "Darkrooms", Artists Space, New York 108 Revien^, Winter 1988 "Aeolus", Artpark, Lewiston, New York 1986 Melrod, George: "Art as Machine, as Allegory-Stephen 1987 "Re-Animators", Hallwalls Contemporary Arts Center, Barry's Constructions", ETES, September Buffalo, New York "P.U.L.S.E.", Leo Castelli Gallery, New York Catalogs: 1986 "Engaging Objects", The Clocktower, New York 1988 "ARTPARK '88", November, essay by Jim Pomeroy "Cinemaobject", City Gallery, New York 1987 "Todays Machines", P.U.L.S.E., essay by Thomas

1984 "Mechanisms", P.S. 1, Long Island City, New York Finklepearl "Hermes", Hunter College Gallery, New York 1983 "Terminal New York", Brooklyn Army Terminal, New York

39 PETAH COYNE Untitled (670) 1990 — (left rear) Untitled (673) 1990 — (center foregrourK mixed media mixed media

144 X 62 X 48 inches 74 X 52 X 43 inches (top)

30 X 51 X 42 inches (bottom) Untitled (672) 1990 — (right) installation at Southeastern Massachusetts University mixed media Art Galler)', North Dartmouth

102 X 66 X 60 inches Utitttled (678) 1 990 — (left) Untitled 1990 — center) (679) { mixed media mixed media

98 X 32 X 27 inches 99 X 27 X 24 inches

(reproduced only) installation at Southeastern Massachusetts University Art Gallery, North Dartmouth; funded by the Untitled (680) 1990 — (right) Massachusetts Cultural Council New Works Grant mixed media (reproduced only)

96 X 29 X 3 1 inclies (reproduced only) Untitled Installation 1 989 mixed media dimensions variable installation at The Brooklyn Museum, New York (reproduced only) Untitled (633) 1989 mixed media

128 X 66 X 69 inches (reproduced only)

44 Untitled (636) 1988 mixed media

127 X 61 X 36 inches (reproduced only) :

PETAH COYNE

Born 1953, Oklahoma City, Oklahoma American Art, Fairfield County, Stamford, Resides in New York, New York Connecticut "Exposition 1-1990", Centre International D'Art Education: Contemporain De Montreal, Canada Kent State University, Ohio, 1972-73 "Detritus: Transformation and Re-Construction", Art of Cincinnati, Academy Ohio, B.F.A., 1977 Jack Tilton Gallery, New York "Academy Institute Invitational Exhibition of Painting Position: and Sculpture", American Academy and Institute Self employed of Arts and Letters, New York Grants/Awards/Fellowships "Visiting Artists Exhibition", Zoller Gallery, 1991 Asian Cultural Council, Japan Fellowship Pennsylvania State University, University Park 1990 National Endowment for the Arts 1989 "Terra Firma: Land and Landscape m die 1980y', National Endowment for the Arts, International Miriam and Ira P. Wallach Art Gallery, Columbia Exchange University, New York "100 Bellagio Center Residency, The Rockefeller Drawings by Women", Hillwood Art Museum, Foundation Long Island University, Brookville, New York and 1989 John Simon Guggenheim Memorial Foundation traveled internationally to Pan-America and Europe; Art Matters, Inc. nationally to BlumHelman Gallery, and Warehouse 1988 Massachusetts Council on the Arts and Humanities Space, New York; Clara M. Eagle Gallery, Murray New York Foundation for the Arts State University, Kentucky; Grand Rapids Art 1987 Augustus Saint-Gaudens Memorial Foundation Museum, Michigan; University Art Gallery, Artists Space University of North Texas, Denton; Richard F. Brush PoUock-Krasner Foundation, Inc. Gallery, St. Lawrence University, Canton, New York; 1986 Artists Space Museum of Art, University of Oklahoma, Norman 1984 Artists Space "The Emerging Figure", Norton GaUery of Art, West Palm Beach, Florida and traveled to Edith C. Blum Solo Exhibition/Outdoor Sculpture: Art Institute, Bard College, Annandale-on-Hudson, 1991 Jack Shainman Gallery, New York New York Southeastern Massachusetts University, North Dartmouth 1988 "David and Goliath", Jack Shainman Gallery, New York 1989 Brooklyn Museum, New York "Shape Shifting", Cavin-Morris, New York Jack Shainman Gallery, New York "Life Forms: Contemporary Organic Sculpture", Norton Gallery of Art, West Palm Beach, Florida Freedman Gallery, Albright College, Reading, 1988 The Augustus Saint-Gaudens Memorial Gallery, Pennsylvania Cornish, New Hampshire "Primitive Works for Public Spaces", R. C. Erpf 1987 Sculpture Center, New York Gallery, New York Snug Harbor Cultural Center, Newhouse Center for "Strike: Nature, Abstraction, Aggression", East Contemporary Art, Staten Island, New York Campus Galleries Valencia Community College,

P.S. 1, Long Island City, New York Orlando, Florida 1986 O.I.A., Staten Island, New York "Nomadic Visions", Southeastern Massachusetts 1985 Houston Festival, Texas University, North Dartmouth Sculpture Chicago, Illinois "Kindred Spirits", George Ciscle Gallery, Baltimore, 1984 Sculpture Chicago, Illinois Maryland 1983 Creative Time, Inc., New York 1987 "Elements", Whitney Museum of American Art, Equitable Center, New York Group Exhibitions: "Small Works", Sculpture Center, New York 1990 "The (Un) Making of Nature", Whitney Museum of "Sculpture", Edith C. Blum Art Institute, Bard American Art, Downtown at Federal Reserve Plaza, College, Annandale-on-Hudson, New York New York and traveled to Whitney Museum of "Works on Paper", Tomoko Liguori Gallery, New York

46 1

"Working Drawings", Snug Harbor Cultural Center, Wilkin, Karen: "At the Galleries", Partisan Renew, Newhouse Center for Contemporary Art, Staten Winter, no. 1, pp. 126-135 Island, New York Tanaka, Hiroko: "ART IS BEAUTIFUL: Interviews

"Personal Poetics", Sala 1, Rome, Italy with New York Artist", Kawade Shobo Shinsah "O.I. A. Tenth Anniversary Outdoor Sculpture Publishing, Japan, pp. 135-140 Exhibition", Snug Harbor Cultural Center, 1989 Schwan, Gary: "It Figures", The Palm Beach Post, Newhouse Center for Contemporary Art, Staten January 27, p. TGIF-30 Island, New York Wolff, Millie: "New Art Emerges at Norton", Palm "Group Show", Grand Street Art Galleries, New York Beach Daily News, February 2, p. B-1 "Alternative Supports: Contemporary Sculpture on the Grimes, Nancy: "Kindred Spirits: Metaphysical Insights Wall", David Winton Bell Gallery, Brown of Seven Sculptors", Nen' Art Examiner, March, University, Providence, Rhode Island p. 52 "Standing Ground: Sculpture by American Women", Pennella, Florence: " 'Emerging' Ideas", Pou^hkeepsie The Contemporary Arts Center, Cincinnati, Ohio Journal, April 28, pp. D-1, D-10 "Endangered Species", Alternative Museum, New York Forman, Alice: "Colleges 'Figure' Exhibits Add Up To 1986 "A Contemporary View of Nature", Aldrich Museum Two Fine Shows", Pou^hkeepsie Journal, May 21, of Contemporary Art, Ridgefield Connecticut p. F-2 "Bodies and Dreams", White Columns, New York Tanaka, Hiroko: "Artwave from New York", Hi "The Figure Abstracted: Intimated Presences", Fashion, August, p. 200 Robeson Gallery, Rutgers University, New Tonkinson, Carole: "Art Notes", ELLE, September, Brunswick, New Jersey p. 318 "Sydney BlunVPetah Coyne/Beverly Fisherman", P.S. Brenson, Michael: "Petah Coyne", The New York Times, 122, New York and traveled to John Slade Ely House, September 8, p. C-22 New Haven, Connecticut Newhall, Edith: "Sculptors On Their Own", ATew' York "Benefit Exhibition", East Hampton Center for Magazine, September 11, p. 73 Contemporary Art, New York Levin, Kim: "Choices", The Village Voice, September "Sculpture x Six", Bronx Museum of the Arts, New York 26, p. 52 "Transformations", Richard Green Gallery, New York "Art", The New Yorker, September 26, p. 1 "Personal Visions", East Hampton Center for Raven, Arlene: "Black Madonna", The Village Voice, Contemporary Art, New York September 26, p. 94 "Nature Observed", Danforth Museum of Art, Boston, Amann, Gloria: "Petah Coyne/Jack Shainman Gallery", Massachusetts Cover Magazine, October, vol. 3, no. 8, p. 14 "Group Show", Stokker/Stikker Gallery, New York Kimmelman, Michael: "Petah Coyne/Brooklyn "Paradise & Purgatory: West Meets East", Museum", The New York Times, October 6, Metropolitan Museum of Art, New York p. C-27 "The All Natural Disaster Show", P.S. 39, Longwood Semel, Nancy: "The Forest and the Grass/Petah Coyne", Art Project, Bronx, New York Studio Art Magazine, Israel, November, p. 46 1985 "Toy Show", BACA, Brooklyn, New York Grimes, Nancy: "Petah Coyne/Jack Shainman", "Gettmg OflP', Civilian Warfare, New York ARTnews, November, pp. 161, 162 "Bayou Artist", Transco, Houston, Texas "Exhibitions/Coyne's Largest Installation", The Journal "Bayou Show-Outdoor Public Sculpture", Houston ofArt, vol. 2, no. 2, p. 16 Festival, Texas Dreishpoon, Douglas: "Petah Coym''\ARTS Magazine, December, p. 82 Bibliography: Phillips, Patricia C: "Petah Coyne/Brooklyn Museum, 1990 Heartney, Eleanor: "Jack Risley at Postmasters", Art Jack Shainman Gallery", Artforum, December, p. 137 in America, January, p. 153 Katchur, Lewis: "Sculptors Turn to Social Themes", Hoist, Lise: "Terra Firma: Land and Landscape in Art Art International, Winter, pp. 90, 92 of die 1980's", ARTwem, January, pp. 169, 170 Van Wagner, Judy K. Collischan: "Lines of Vision, Mahoney, Robert: "Petah Coyne/Jack Shainman/ Drawings by Contemporary Women", Hudson Press, Brooklyn Museum", Sculpture Review, New York, p. 40 January/February, pp. 68, 69 1988 Bartclik, Marek: "Vidziane Z Manhattanu", Przeglad ylrf in Hoist, Lise: "Petah Coyne at Jack Shainman", Polski, January 1, 2, 3 America, February, pp. 174-175 Levin, Kim: "Choices", The Village Voice, January 5, Heartney, Eleanor: "Eco-Logic", Sculpture Review, p. 40 March/April, p. 41 Levin, Kim: "Artwalk", The Village Voice, January 5, Ben-Haim, Tsipi: "Awakening the Brooklyn", p. 84 Sculpture, May/June, pp. 68-73 Dorsey, John: "Pessimism Prevades Exhibit", The Brenson, Michael: "City As Sculptural Garden: Seeing Baltimore Sun, January 8, p. 33 The New And Daring", The New York Times, Brenson, Michaeh "A Transient Art Form with July 17, pp. C-1, 24 Staying Power", The Nov York Times, January 10, Schwarze, Richard: "Will Artistic Equality Be Forever pp. 32, 33, 36 Elusive?", TLME Publication, July 29, p. B-1 Kaufman, Jason Edward: "Four American Artists Show Brenson, Michael: "Season Preview, A Selective Guide", Their Earthliness in Dual Locale Whitney The New York Times, August 30, Sunday Magazine, Exhibition", The New York City Tribune, pp. 111-113 January 14, pp. 10, 14 Brenson, Michael: "Critics' Choice", The New York Times, Temin, Christine: "Critic's Tip", The Boston Globe, September 13, The Guide, p. 2 February 11 Levin, Kim: "Choices", The Village Voice, September Shincho-Sha: "Elements, Five Installations", The 29, p. 46 Geijutsu-Shincho, March, p. 96 Levin, Kim: "Artwalk", The Village Voice, October 6, Levin, Kim: "Choices", The Village Voice, March 22, Art Supplement, p. 19 50 p. Levin, Kim: "Choices", The Village Voice, October 6, Fox, Marilyn J.: "Art Takes on Life in College p. 44 Exhibit", Reading Times, April 1, pp. 2, 12 Brenson, Michael: "Maverick Sculptor Makes Good", Heartney, Eleanor: "Elements: Five Installations", The New York Times, November 1 , Sunday ARTne^ys, April, p. 56 Magazine, pp. 84, 88, 90, 92, 93 Brenson, Michael: "David Seccombe", The New York Phillips, Patricia: "Petah Coyne, Sculpture Center", Flash Times, May C-28 20, p. Art, November/December, pp. 107, 108 Matyas, Diane: "Thoughts on Public Sculpture: The 1986 Zimmer, William: "Natural Disaster Show Offers Work of Petah Coyne", Journal Art, Cornell Samples of Creative Upheaval", The New York Universit}', Ithaca, New York, July, pp. 23-24 Times, January 26, p. 24 Levin, Kim: "Choices", The Village Voice, July 19, p. 42 Stapen, Nancy: "Nature Exhibit Needs A Focus", The Cullum, W.: "Strike: Fasnacht, J. Coyne, Driscoll, Boston Herald, February 14, p. 66 Hepper", ART PAPERS, July/August, pp. 56, 57 Bonetti, David: "In Real Time", The Boston Phoenix,

Craig, William, : Jr. "New Sculptures Suggest February 25, pp. 3, 10 Creation's Callous Beauty", Valley News, August 18 Pulda, Ellen: NewsWest, March 19 Gibson, Eric: "Nature and Sculpture, A New Keyes, Norman, Jr.: The Boston Globe, March 21 Subjectivity Takes Root", Sculpture, Faxon, Alicia: "Nature Observed", Art Ne^v England, September/October, pp. 28-31 April Mahoney, Robert: "David and Goliath", ARTS Brenson, Michael: The New York Times, June 13 Magazine, October, p. 102 Long, Robert: The Southampton Press, June 19 Rubinstein, Meyer Raphael: "David and Goliath", ECT Brenson, Michael: "A Bountiful Season In Outdoor Montreal, Automne, no. 5, pp. 98, 99 Sculpture Reveals Glimmers Of A New Sensibility", Mahoney, Robert: "Long Island University/C. W. Post", The New York Times, July 19, pp. C-1, 20 ARTS Majjazine, November, p. 117 Roberts, CatSou: "Sydney Blum, Petah Coyne, Beverly Fox, Marilyn "The Year in Visual Arts", J.: Reading Fishman", 108 East Village Review, September, p. 8 Eagle, December 18, pp. D-1, 3 Zimmer, William: "Sydney Blum, Petah Coyne, Craig, William, Jr.: "Changes at Hood and AVA", Beverly Fishman", The Nav York Times, Valley News, December 29, p. 32 September 19, p. C-25 Brenson, 1987 Michael : "Critics' Choice", The New York Times, Long, Robert: "Non-Profit Center Helps Artist Bloom", January 18, The Guide, p. 2 The Southampton Press, September 25 Levin, Kim: "Voice Centerfold", The Village Voice, Watkin, Eileen: "Exhibits At Robeson Gallery in March 17, p. 72 Newark Take Figurative Look At Human Figure", Levin, Kim: "It's A Jungle Out There", The Village Newark Star-Ledger, October 12 Voice, March 24, p. 78 Raynor, Vivien: "Intimations Of Figures At Newark's Stein, Jerry: "Standing Ground Showcases Women Robeson Center Gallery", The New York Times, Sculptors", The Cincinnati Post, March 27, October 12, p. 36 pp. B-7, 12 Brenson, Michael: "DiSuvero's Drama of a Sculpture Gonzales, Shirley: "Sydney Blum, Petah Coyne, Park Grows in Queens", The New York Times, Beverly Fishman," Nen^ Haven Register, May 3 October 12, pp. 2-31, 32 Brenson, Michael: "Petah Coyne", The New York Times, "Fishes and Habits", STROLL, The Magazine of May 22, p. C-24 Outdoor Art and Street Culture, Nov/Dec/Jan, Zimmer, William: "Sculpture Carefully Created For A vol. 2, no. 2, p. 15 Site," The New York Times, June 28, p. 24

48 1

Schwabsky, Barry: "Sydney Blum, Petah Coyne, 1986 Cross, Jennifer: "Summer Exhibitions 1986", East Beverly Fishman", ARTS Magazine^ November, Hampton Center for Contemporary Art, New York p. 120 Weld, Alison: "The Figured Abstracted: Intimated Brenson, Michael: "Sculpture Breaks The Mold of Presences", Rutgers University, Newark, New Jersey Minimalism", The New York Times, November 23, Yau, John: "A Contemporary View of Nature", section 2, pp. 1, 33 Aldrich Museum of Contemporary Art, Ridgefield, Eliasopli, Philip: "Back To The Aldrich Museum, Connecticut Naturall}'", The Stamford Advocate, 1985 Wier, Cynthia: "Whimsical, Serious or Reverent", December 2 Houston Festival Catalog, Texas Merkling, Frank: "Aldrich: New Look For A New Year", The New York Times, December 28 1985 Johnson, Patricia C: "Stroll Down the Bayou Path for an Artful View", Houston Chronicle, March 16, section 4, pp. 1, 6 Lewis, Pamela: "Bayou Show", The Houston Post, March 23

Catalogs: 1990 Einspruch, Julia, Elizabeth Finch, James Marcovitz, Helen Molesworth and Lydia Yee: "The (Un)Making of Nature", Whitney Museum of American Art, Downtown at Federal Reserve Plaza, New York 1989 Ferrer, Elizabeth and MuflFet Jones: 'Terra Firma: Land and Landscape in Art of the 1980's", Columbia University, New York Weber, Bruce and Douglas Dreishpoon: "The Emerging Figure", Norton Gallery of Art, West Palm Beach, Florida Kotik, Charlotta: "Untitled Installation", Brooklyn Museum, New York 1988 Antonsen, Lasse: "Nomadic Visions", Southeastern Massachusetts Universit)', North Dartmouth Page, Judith: "Strike", Valencia College, Orlando, Florida Rubin, David: "Life Forms: Contemporary Organic Sculpture", Albright College, Reading, Pennsylvania 1987 Rodriguez, Geno: "Endangered Species: Ecological Commentaries", Alternative Museum, New York Rogers-Lafferty, Sarah: "Standing Ground: Sculpture by American Women", The Contemporary Arts Center, Cincinnati, Ohio Tolnick, Judith: "Alternative Supports: Contemporary Sculpture On The Wall", David Winton Bell Gallery, Brown University, Providence, Rhode Island

Snyder, Kit- Yin: "Personal Poetics", Sala 1, Rome, Italy Monaghan, Kathleen: "Elements: Five Installations", Whitney Museum of American Art at Equitable Center, New York

49 JAMES HAYWARD Homage to the Muse: Vestal Version 1990 oil and wax on canvas on board

103 X 179 inches overall Homage to the Muse: Nocturnal Version oil and wax on canvas on board

79 X 128 inches overall (reproduced only) AD O.D.: Secondary Version 1990 oil and wax on canvas on board

143 X 123 inches overall

(reproduced only) :

JAMES HAYWARD

Born 1943, San Francisco, California "Abstract Options", University of California Art Resides in Moorpark, California Museum, Santa Barbara and traveled to Mary and Leigh Block Art Gallery, Northwestern University, Education: Evanston, Illinois; De Saisset Museum, Santa Clara San Diego State University, California, B. A., 1966 University, California University of California in Los Angeles, 1966-1969 1988 "Now Color: Hayward-Sims", Genovese Gallery, University of Washington, Seattle, M.F.A., 1972 Boston, Massachusetts "The Gold Show", Genovese Gallery, Boston, Position: Massachusetts Self employed "Primary Abstraction: Los Angeles", Modernism, San Francisco, California Grants/Awards/Fellowships "Profound Visions", Ace Contemporary Exhibitions, 1983 John Simon Guggenheim Memorial Foundation Los Angeles, California 1981 Japan-United States Creative Arts Fellowship "Out of Order", Anne Plumb Gallery, Inc., New York 1977 Young Talent Award, Los Angeles County Museum "Paintings", M-13 Gallery, New York of Art, California "Works on Paper", Modernism, San Francisco, Solo Exhibitions: California 1990 Ace Contemporary Exhibitions, Los Angeles, 1987 "Paint-Film", Bess Cutler Gallery, New York California "Contemporary Southern California Painting", Taipai 1989 Modernism, San Francisco, California Fine Arts Museum, Republic of China and traveled M- 13 Gallery, New York to the Municipal Art Gallery, Barnsdall Park, 1988 Ace Contemporary Exhibitions, Los Angeles, Los Angeles, California California 1986 "Gallery Artists", Rosamund Felson Gallery, Los 1987 Modernism, San Francisco, California Angeles, California Ace Contemporary Exhibitions, Los Angeles, 1985 "Recent Painting and Sculpture", Angles Gallery, Santa California Monica, California 1986 Rosamund Felsen Gallery, Los Angeles, California "Sunshine and Shadow: Recent Painting in Southern 1984 Modernism, San Francisco, California California", Fisher Gallery, University of Southern 1983 Mizuno Galler}', Los Angeles, California California, Los Angeles 1980 Modernism, San Francisco, California Bibliography: Group Exhibitions: 1990 Wilson, William: "Abstractions': Contrasting 1990 "Physical Abstraction", Ace Contemporary Exhibitions, Temperaments", Los Angeles Times, March 16, Los Angeles, California pp. F 24-25 "Absolute Contemplation", Newspace, Los Angeles, 1989 Muchnic, Suzanne: "Two Views of the 'Revival' of the California Abstract", Los Angeles Times, January 24, sec. 6, p. 5 "Group Exhibition", Stark Gallery, New York Woodard, Josef: "Contemplation of Quiet Strength", 1989 "Painting Between the Sacred and the Profane", ARTWEEK, February 18, p. 1 Galerie Rahmel, Koln, West Germany Clothier, Peter: "At the Hard Edge: California "Diverse Abstractions", M-13 Gallery, New York Abstraction Then and Now", Art Coast, "Simple in Appearances", Marc Richards Gallery, March-April, p. 40 Los Angeles, California Mahoney, Robert: "New York in Review", ARTS "Painting Between Awareness and Design", Cyrus Magazine, April, pp. 98-99 GaUery, New York Gilbert- Rolfe, Jeremy: "The Current State of Non- "Summer 1989", M-13 GaUery, New York representation", Visions, Spring, pp. 3-7 "Current Abstract Painting", Marc Richards Gallery, Spector, Buzz: "James Hayward: The Space Behind Los Angeles, California the Gesture", Visions, Spring, pp. 24-26

54 Fehlau, Fred: "The Complex Stmcture of Simplicity", 1983 "Young Talent: 1963-1983", Los Angeles County ARTWEEK, June 3, vol. 20, no. 22 Museum of Art, California, essay by Anne Carnegie 1988 Curtis, Cathy: "The Galleries", Los Angeles Times, July Edgerton and Maurice Tuchman

8, sec. 6, p. 18 1982 "Changing Trends: Content and Style", The Fellows Geer, Suvan: "The Galleries", Los Angeles Times, of Contemporary Art, Los Angeles, California, essay

November 18, sec. 4, p. 15 by Frances Colpitt, Christopher Knight, Peter Plagens McKenna, Kristin: "The Galleries", Los Angeles Times, and Robert Smith

December 2, sec. 4, p. 19 1976 "New Abstract Painting in Los Angeles", Los Angeles 1987 Gilbert-Rolfe, Jeremy: "Abstract Painting and the County Museum of Art, California, essay by Historical Object: Considerations on New Stephanie Barron and Maurice Tuchman Paintings by James Hayward", ARTS Magazine, Selected Collections: April, pp. 30-36 Wilson, William: "The Galleries", Los Angeles Times, Cleveland Museum of Fine Art, Ohio Gatodo Gallery, Tokyo, Japan May 1, sec. 6, p. 15 1986 Wilson, William: "Reviews", LosAn£feles Times, Los Angeles County Museum of Art, California Sakura Gallery, Nagoya, Japan January 17, sec. 6, p. 14 Clothier, Peter: "James Hayward at Rosamund Felsen

Gallery", LA. Weekly, January 31, p. 47 Schipper, Merle: "Preoccupied with Color", AR7WE£i

February 1 Clothier, Peter: "James Hayward at Rosamund ¥c\son \ Art in America, May, pp. 165-167 1985 Muchnic, Suzanne: "Sun Shines on 29 Local Artists",

Los Angeles Times, Januar)' 24, Calendar, p. 1 Plagens, Peter: "Bee-Bop Da Rebok in L.A.", ylrf in

America, April, p. 148 1983 Bowsher, John: "Southern Painting: Surveying

Changing Trends", ARTW££J

May 13, sec. 6, p. 2 Wilson, William: "Commond Thread Shared in Changing Trends", Los Angeles Times, November 28,

Calendar, p. 80 1982 Albright, Thomas: "New Perspectives in Minimalism and Photo- Realism", San Francisco Chronicle, October 22 Cebulski, Frank: "Abstract or Kc3\'\ ARTWEEK, November 13 1980 Albright, Thomas: "Clarification and the Less Orderly",

San Francisco Chronicle, January 31, p. 46 Catalogs: 1989 "Abstract Options", University of California Art Museum, Santa Barbara, essay by Frances Colpitt and Phylis Pious 1987 "Contemporary Southern California Art", Taipai Fine Arts Museum, Republic of China, essay by Marie AJacuaz and Victoria Lu 1985 "Sunshine and Shadow: Recent Painting in Southern California", The Fellows of Contemporary Art, Los Angeles, California, esssay by Susan Larsen

55 TONY LABAT David and Goliath IV 1991

wood, vinyl, mirror, video, camera

dimensions variable (prototype)

57 58 David and Goliath III 1 990 wood, two-way mirror, six channel video, surveillance camera, paper and steel marionette, lights

96 X 96 X 96 inches installation at the San Francisco Museum of Modern Art, California (reproduced only)

59 David and Goliath II (details) 1989 mixed media dimensions variable installation at the Damon Brandt Gallery, New York

( reproduced only) 61 David and Goliath I 1 988 wood, surveillance system, monitors, four channel video, two-way mirror dimensions variable installation at The Museum of Contemporary' Art, Los Angeles,

California Plaza, June 12 - September 11, 1988. (reproduced only) :

TONY LABAT

Born 1951, Havana, Cuba 1990 "American Art of the Late Eighties", Helsinki, Finland Resides in San Francisco, California "Open Channels Five-Year Retrospective", Long Beach Museum of Art, California Education: "Bay Area Media", San Francisco Museum of Modern San Francisco Art Institute, California, B.F.A., 1978 Art, California San Francisco Art Institute, California, M.F.A., 1980 1989 "Fukui International Video Biennale", Fukui City, Japan Position: "The 1989 Film Arts Festival, 10 Ways of Looking Instructor, San Francisco Art Institute, California Bay Area Video Art, 1978-82", Roxie Cinema, Grants/Awards/Fellowships San Francisco, California 1988 Engelhard Award "Nepotism", Hallwalls Contemporary Arts Center, 1987 National Endowment for the Arts Buffalo, New York Eureka Fellowship "Cars", Force Nordstrom Gallery, San Francisco, Artspace Sculpture Award California Open Channels "World Wide Video Festival", The Hague, Amsterdam, 1986 Film Arts Foundation The Netherlands 1983 National Endowment for the Arts "American Art of the Late 80's", Tel Aviv Museum of Art, Israel and traveled to the National Gallery of Selected Solo Exhibitions: Greece, Athens 1991 Minter Wilcox Gallery, San Francisco, California 1988 "The Binational: Art of the Late 80s", Museum of 1990 Laguna Art Museum, California Fine Arts, Boston, Massachusetts and traveled to The Kitchen, New York the Institute of Contemporary Art, Boston 1989 BOBO, San Francisco, California "Other Versions/Perversions", Artists Space, New York Fuller Gross Gallery, San Francisco, California "Video: New Narrative", Pacific Film Archive, Berkeley, 1988 The Museum of Contemporary Art, Los Angeles, California California 1987 "Videonale Festival", Munster and Bonn, West Hallwalls Contemporary Arts Center, Buffalo, New Yoi Germany Oakland Museum, California "Animal Art", Styrian Autumn, Graz, Austria Pacific Film Archive, Berkeley, California "Terrorizing the Code: Recent U.S. Video", 1987 Kunst Museum, Bonn, West Germany Australian Centre for Contemporary Art, Melbourne Artspace, San Francisco, California and traveled to the Experimental Art Foundation, Capp Street Project, San Francisco, California Adelaide, Australia; Wellington City Art Gallery, Henry Art Gallery, University of Washington, Seatd< Australia; Artspace, Auckland, New Zealand Los Angeles Contemporar}' Exliibitions, California "Second International Video Week Festival", Geneva, 1986 Institute of Contemporary Art, Boston, Massachuset Switzerland Artists Space, New York "Outside Cuba", University Art Museum, Oxford, Ohio Ted Greenwald Gallery, New York and traveled to the Jane Zimmerli Art Museum, 1985 Maryland Institute College of Art, Decker and Rutgers University, New Brunswick, New Jersey; Meyerhoff Galleries, Baltimore Museo de Arte de Ponce, Puerto Rico; Center for Washington Project for the Arts, Washington, D.C. the Fine Arts, Miami, Florida Club Nine, San Francisco, California "The Australian Video Festival", Paddington, Australia New Langton Arts, San Francisco, California "The Situated Image", Mandeville Gallery, University Museum of Modern Art, New York of California at San Diego, La Jolla Anthology Film Archives, New York 1986 "Open Channels", American Film Institute, Los Angeles and traveled to Long Beach Museum of Art, Selected Exhibitions: Group California 1991 "Selections from the Circulating Video Library", "Second Newport Biennial", Newport Harbor Art Museum of Art, Modern New York Museum, Newport Beach, California

63 "Transculture Transmedia", Exit Art, New York 1987 Seid, Steve: "Large Space: The Last Frontier", "VideonaJe Festival", Bonn, West Germany ARTWEEK, April 18

"Video Offensive Festival", Dartmund, West Germany Pincus, Robert L. : "Watching Machines Ignore Us", "Poetic License", Long Beach Museum of Art, California The San Diego Union, May 28 "Resolutions", Los Angeles Contemporary Exhibitions, Tamblyn, Christine: "Co-Opting the Context", California ARTWEEK, August 8, vol. 18, no. 27 "California Video", Monterey Peninsula Museum of Baker, Kenneth: "Consumer Goods Posing as Art, California Sculpture", San Francisco Chronicle, August 10 1985 "World Wide Video Festival", The Hague, McCormick, Carlo: "Tony Labat: Play in Four Acts", Amsterdam, The Netherlands Artspace^ August "Inspired by Leonardo", San Francisco Art Institute, Jan, Alfred: "A Critique of Culture and Technology: The California Video Art of Tony Labat", High Performance, no. 39

"Chain Reaction", San Francisco Arts Commission McCarron, John: "Conversations", Shift, no. 1 Gallery, California 1 986 Solnit, Rebecca: "After the Master", ARTWEEK, "Late Night", MO David Gallery, New York January 11 "nancy's Comet", Light Gallery, New York Strausbaugh, John and Ilene Stein: "Performance: Modes "Conscientious Objector", Ted Greenwald Gallery, and Themes", High Performance, no. 33 New York "Resolution: A Critique of Video Art", LACE, "The Poetics of ABC", Kunst Museum, Bern, (Los Angeles Contemporary Exhibitions) Switzerland 1985 Paskin, Murray: "Tony Labat: The Video Revolution "San Francisco Video Festival", California Enters the Mainstream", The Daily Califomian, "Video from San Diego to Vancouver", Museum of October 2 Modern Art, New York Baker, Kenneth: "5 Artists Thinking of Leonardo", San Francisco Chronicle, December 4 Videotapeography: Burkhardt, Dorothy: "Leonardo Would Be Pleased", 1989 "SHIFT", in collaboration with San Francisco Artspace, San Jose Mercury News, December 6 77 minutes, color 1984 Hoyt, Dale: "Guilty Edges", Send Magazine, Spring 1988 "True Love", with Mike Osterhunt and Purple Geezus, Hoberman, J.: "Their Big Break", The Village Voice 5 minutes, color Catalogs: "A Jar Full of Jam", 45 minutes, color 1987 "Tony Labat: An Iconoclast in Hand", Henry Art 1986 "Mayami: Between Cut and Action", 13 minutes, color Gallery, University of Washington, essay by 1985 "What Your Problem Is" (with Karen Finley), Butterfield 10 minutes, black and white Jan "Animal Art", Steirischer Herbst '87 Festival, "La Jungla: Between Light and Shadow", Graz, Austria 12 minutes, black and white "The Self-Portrait: Tangible Consciousness", 1984 "Lost in the Translation", 10 minutes, color Jane Voorhees Zimmerli Art University 1983 "Kikiriki", 12 minutes, color Museum, Rutgers 1986 "Several Points Perspective "Time Out", 3 minutes, color Rendered from the Vanishing Point Little 1982 "Enn-yay", 10 minutes, color of Such-a-Thumb", Second Newport Biennial, Newport Art 1981 "Challenge: P.O.V.", 20 minutes, color Harbor Museum, essay by Howard Fried 1980 "Room Service", 7 minutes, color 1984 "Video: Retrospective", 1979 "Babalu", 10 minutes, color A Long Beach Museum of Art, California "Lunch with Mr. Gordon" (with David Ireland), 15 minutes, black and white Selected Collections 1978 "Black n' Blue", 5 minutes, color Centre Georges Pompidou, Paris, France "David Ireland's House" (with David Ireland), Museum of Modern Art, New York 20 minutes, black and white The Collection Oppenheim, Bonn Museum, West 1977 "Selected Shorts", 30 minutes, black and white Germany Stedelijk Museum, Amsterdam, The Netherlands Bibliography: Long Beach Museum of Art, California 1988 Corgnati, Martina: "Arte a San Francisco", Flash Art Newport Harbor Art Museum, Newport Beach, (Edizione Italiana), January/February, no. 142 California

CARYS. LEIBOWITZ bric-a-brac 1990 mixed media dimensions variable installation at the Stux Gallery, New York

67 68 Hepe AW PLeasE JONT BE MeAn.

HErE iAm Please dONTBEMeAn. 1990

latex on board

24 X 24 inches

if u try reaLLy hard AND stiLL faiL U deseRVe all tHE sTmpathT U can get. 1 990 latex on board

16 X 24 inches U Cant B Dead ALL the TiMe. 1 990 latex on board 24 X 16 inches

MLserT Loves Company. 1 990 latex on board

24 X 24 inches 70 I Love Ubuti hate U. 1 990

The only thing more Superficial than me is my work 1990

TOP Secret. Do not show this to anyone! 1990 porcelain

10 in inches diameter each 71 GARY S. LEIBOWITZ/CANDYASS

Born 1963, New York, New York 1989 "The Second Second", Althea Viafora Gallery, Resides in New York, New York New York (formerly of Boston, Massachusetts) "Trouble in Paradise", List Visual Arts Center, MIT, Cambridge, Massachusetts Education: Deichtorhallen Museum, Hamburg, West Germany Pratt Institute, Brooklyn, 1981-83 New York, Stux Gallery, New York Fashion Institute of Technology, York, 1983-84 New Galerie Antoine Candau, I'Espace-Dieu, Paris, France University of Kansas, Lawrence, B.F.A., 1987 1988 "Boston Now^', Institute of Contemporary Art, Boston, Massachusetts Position: Hallwalls Contemporary Arts Center, Buffalo, New York Self employed Selected Bibliography: Solo Exhibitions: 1 99 1 Humphrey, David: "New York/Gilbert & George, Larry 1991 Shoshana Wayne Gallery, Santa Monica, California Clark, Pruitt & Early, Gary S. Leibowitz/Candyass, Galerie Krinzinger, Vienna, Austria American Artists of the 80's'\ Art Issues, 1990 Stux Gallery, New York January, pp. 4-5 ID Galerie, Dusseldorf, West Germany Thrush, Glenn: "Wherefore Art Now: The Decade Finds Galerie Antoine Candau, Paris, France Direction Following Five New Stars", Downtown 1989 Stux Gallery, New York Express, January, p. 3 Real Art Ways, Hartford, Connecticut "All Quiet on the Western Front", I'Espace-Dieu, Hampden Gallery, University of Massachusetts, Amherst Contemporcmea, January, pp. 105-6 Group Exhibitions: "Two Hot New Artists", Bottom Line Personal, 1991 "A New Low", Claudio Botello Gallery, Turino, Italy February 15, p. 12 "Outside America; Going into the 90's", Fay Gold 1990 Keedle, Jayne: "Just When You Thought It Was Safe Gallery, Atlanta, Georgia To Go Back In A Gallery", The Hartford Advocate, 1990 "Stuttering", Stux Gallery, New York February 26, 1990 "U.S.A. Annees, '90", Galerie Antoine Candau, "Of Fried Pork Chops and Gay Porn", I'Espace-Dieu, Paris, France Metroline, February 9 "Meditations on AIDS", The Space, Boston, Starger, Steve: "Leibowitz: Homosexuality and Massachusetts Artistry Are Connected", Journal Enquirer, "Ober Flachliche Ideen", ID Galerie, Dusseldorf, March 8 Germany Bonetti, David: "Faces To Watch", Boston Globe,

"The Charade of Mastery Deciphering Modernism in April 8 Contemporary Art", The Whitney Museum of Jocks-Mrosek, Von Sabine: "Bilder an American Art, Downtown at Federal Reserve Wascheklammern", Neve Rheinzeitun^, May 24 Plaza, New York Gaipied: "Y'a de I'art dans I'air", June 28 "Camera Culture: Curriculum Vitae", Thomas Segal Ricard, Rene: "Sinking to the Bottom of Discourse", Gallery, Boston, Massachusetts Tema Cleste, July-October "The Exotic Image: Modern Masters and Mistresses", Wood, Joe: "Choices-Cary Leibowitz/Candyass", The Bennett Siegel Gallery, New York Village Voice, October 2 "Flower", Russell Sage College Art Gallery, Troy, Aletti, Vince: "The Schlemiel of Soho", The Village New York Voice, October 9 "The Last Laugh", Massimo Audiello Gallery, Johnson, Ken: "Gary S. Leibowitz/Candyass at Stux", New York Art In America, November "Summer Review", Stux Gallery, New York Cameron, Dan: "The Sexual is Cultural", j4rf & Shoshana Wayne Gallery, Santa Monica, California Auaion, December ID Gallery, Dusseldorf, West Germany Cottingham, Laura: "Negotiating Masculinity and Galerie Antoine Candau, I'Espace-Dieu, Paris, France Representation", Contemporanea, December

72 Mahoney, Robert: "Gary Leihowkz", ARTS Magazine, December Miller, John: "Candyass", ylr?/orMW2 Afa^azmf, December Schwendenwien, Jude: "Trouble in Paradise, The Art Gallery, University' of Maryland", Contemporanea, December, p. 103 1989 Nalley, Jon: "Sugar Buns", Outweek, September 24, p. 50 Nathans, Jean: "Uncensored", The New York Obserx'er, October 2, p. 8 Hirsch, David: "Signs of Ghaos", Nnv York Native, October 2, p. 41 Hofmann, Isabelle: "Keine Angst vor grosse Raumen", Sonnabend, November 4, p. 47 Framcke, Ricards: "Labyrinth der Moderne", Hamburger Abendblatt, November 10 Als, Hilton: "Gary Leibowitz/Gandyass", y4rr/orMw, December, p. 143 1988 Temin, Ghristine: The Boston Globe, June Stapen, Nancy: "Boston Now", Boston Herald, June 26, sec. 5, p. 3 Bonetti, David: "Paper Prophets", Boston Phoenix, July 1, sec. 5, pp. 3-4

Catalogs: 1990 "U Gan't Be Dead All the Time", Galerie Antoine Gandau, TEspace-Dieu, Paris, France, essays by curatorial staff, Collins & Millazzo, Dana Friis-Hansen, Vik Muniz, Ron Piatt, Pruitt & Early, Holt Quentel, Eric Vieland ADRIAN PIPER Sa/f (panel 1) 1990 mixed media installation with photographs and sillcscreen text, audio soundtrack, stereo equipment

25 X 39'/4 inches Safe (panel 2) 1990 mixed media installation with photographs and silkscreen text, audio soundtrack, stereo equipment .^0'/4x42 inches Safe (panel 3) 1990 mixed media installation with photographs and sillcscreen text, audio soundtraclc, stereo equipment

SOVs X 25 inches Safe (panel 4) 1990 mixed media installation with photographs and silkscreen

text, audio soundtrack, stereo equipment

44 '/t X 39 inches

78 Pretend #3 1990 photographs with silkscreen text

83% X 105'/2 inches overall Free #2 1989

photographs with silkscreen text

48'/2X 82'/2 inches overall

80 Ur Mutter #2 1989 photograph with silkscreen text

40 X 23 inches :

ADRIAN PIPER

Born 1948, New York, New York Group Exhibitions: Resides in Wellesley, Massachusetts 1990 "Exotism", Ezra & Cecile Zilkha Gallery, Wesleyan (formerly of Washington, D.C.) University, Middletown, Connecticut "Insect Politics: Body Horror/Social Order", Hallwalls Education: Contemporary Arts Center, Buffalo, New York School of Visual Arts, New York, A.A. 1969 "Signs of the Self: Changing Perception", Woodstock City College of New York, B.A., 1974 Artists Association, New York Harvard University, Cambridge, Massachusetts, M.A., 1977 "Words and Images-With a Message", Women's University of Heidleberg, West Germany, 1977-78 Studio Workshop, Oneonta, New York Harvard University, Cambridge, Massachusetts, Ph.D., 1981 "Art in Europe and America: The 1960s and 1970s", Wexner Center for the Visual Arts, Ohio State Position: University, Columbus Professor of Philosophy, Wellesley College, Massachusetts "Word as Image: American Art 1960-90", Grants/Awards/Fellowships Milwaukee Art Museum, Wisconsin "Sarah Charlesworth, 1989 New York State Council of the Arts Jeanne Dunning, Annette John Simon Guggenheim Memorial Foundation Messager, Adrian Piper, Laurie Simmons", Richard Feigen Gallery, Illinois 1987 Art Matters, Inc. Chicago, 1982 National Endowment for the Arts 1989 "Making Their Mark: Women Move into the 1970-85", 1979 National Endowment for the Arts Mainstream Cincinnati Art Museum, Ohio and traveled to New Orleans Museum of Art, Solo Exhibitions: Louisiana; Denver Art Museum, Colorado; 1991 Washington Project for the Arts, D.C. Pennsylvania Academy of Fine Arts, Pennsylvania Hirshhorn Museum and Sculpture Garden, "Collecting, Organizing, Transposing", Maryland Art Washington, D.C. Place, Baltimore 1990 Williams College Museum of Art, Williamstown, "Art as a Verb", The Studio Museum in Harlem, Massachusetts New York University of Rhode Island Art Gallery, Kingston "Head", One Twenty Eight, New York Cleveland Center for Contemporary Art, Ohio "American Resources", Bernice Steinbaum Gallery, Power Gallery, Toronto, Canada New York College of Wooster Art Museum, Ohio "Some Choices", Long Beach Museum of Art, John Weber Gallery, New York California Voorhees Gallery of Hunter College, New York "Double Take: A Second Look at Advertising", The Whitney Museum of American Art, Film and Video Contemporary Arts Center, Cincinnati, Ohio Gallery, New York "Buttinsky", Feature, New York Exit Art, New York "I Only Want You to Love Me", Feature, New York 1989 John Weber Gallery, New York "L'Art Conceptuel: Une Perspective", Musee d'Art MATRIX Gallery, University Art Museum, Berkeley, Moderne de la Ville de Paris, France and traveled to California La Fundacion Caja de Pensiones, Madrid, Spain 1987-1990 1988 "Commitment to Print", Museum of Modern Art, "Reflections 1967-87", (retrospective) The New York Alternative Museum, New York and traveled to the "Coast to Coast: Women of Color National Artists' Nexus Contemporary Art Center, Atlanta, Georgia; Book Project", WCA, Houston, Texas Goldie Paley Gallery, Moore College of Art, "Autobiography: In Her Own Image", INTAR Latin Philadelphia, Pennsylvania; University of American Gallery, New York Colorado Art Gallery, Boulder; Lowe Art Museum, "Modes of Address", Whimey Museum of American University of Miami, Coral Gables, Florida Art, Downtown Branch, New York

82 "Unknown Secrets: Art of the Rosenberg Era Signs", Publications: Art Gallery of Ontario, Toronto, Canada 1989 "The Triple Negation of Colored Women Artists", Next "Signs", Art Gallery of Ontario, Toronto, Canada Generation: Southern Black Aesthetic, Southeastern "The Turning Point: Art and Politics in 1968", Center for Contemporary Art, Winston-Salem, Cleveland Center for Contemporary Art, Ohio North Carolina "Works on Paper", One Twenty Eight, New York 1987 "A Tale of Avarice and Poverty", White Wall 15, "Art as a Verb", Maryland Institute College of Art, Winter, pp. 70-81 Decker and Meyerhoff Galleries, Baltimore 1981 "Performance and the Fetishism of the Art Object", "Identity", Whitney Museum of American Art, Vanguard 10, 10, December 1981-82, pp. 16-19; Downtown Branch, New York reprinted in Bruce Barber, Ed., "Essays on 1987 "Floating Values", Hallwalls Contemporary Arts Performance and Ctdtural Publicization: Open Center, Buffalo, New York Letter, 5-6, Fifth Series, Summer-Fall, pp. 7-17 "Black Video: Performance/Document/Narrative", 1976 "I Emlxxiy'', Frew ffe C^w/^fr Pmmzitfeay^ o« W^WM^w^i' Gorman Museum, Davis, California Art, compiled by Lucy Lippard, New York, E. P. "Past Time", Maryland Art Place, Baltimore Dutton 1985 "Tradition and Conflict", The Studio Museum in 1975 "Talking to Myself: The Ongoing Autobiography of Harlem, New York An Art Object", Bari, Italy: Marilena Bonomo, "Kunst mit Eigen-Sinn", Museum Moderner Kunst, English-Italian; Also Brussels, Belgium: Ferdinand Vienna, Austria Spillemaeckers, English-French

"The Art of Memory/The Loss of History", The New 1973 "In Support of Meta-Art", Artforum, vol. XII, October, Museum of Contemporary Art, New York pp. 79-81

Performances: Bibliography: 1990 "Reading from Blasted Allegories", The New Museum 1991 Wilson, Judith: "Adrian Piper on the Edge," Third of Contemporary Art, New York Text, forthcoming 1989 "Xenophobia and The Indexical Present", Moore 1990 Staniszewski, Mary Anne: "Piper Pipes Up", Elk, March,

College of Art and Design, Philadelphia, p. 92 Pennsylvania Sims, Lowery Stokes: "The Mirror the Other", "Adrian Piper: Talking to Myself, The Ongoing Artforum, March, pp. 111-115 Autobiography of an Art Object", Whitney Holland, Cotter: "Black Artists: Three Shows", vlrr in Symposium on American Art, Whitney Museum America, March, pp. 165-217 of American Art, New York Als, Hilton: "The Adrian Piper Storf\ Artforum, April 1988 "My Calling (Card) #1 and #2: Meta- Performance 11", Johnson, Ken: "Adrian V\^er^\ Art in America,

The Studio Museum in Harlem, New York September, p. 154-161 1983 "Funk Lessons", Walker Art Center and the 1989 Raven, Arlene: "1 to Eye", The Village Voice, January

Minneapolis College of Art and Design, Minnesota 31, p. 86 1980 "It's Just Art", Contemporary Art Institute, Detroit, Failing, Patricia: "Black Artists Today: A Case of Michigan Exclusion.^", ARTwewj, March pp. 124-131 1976 "Some Reflective Surfaces", Whitney Museum of Brenson, Michael: "Black Artists: A Place in the Sun",

American Art, New York The New York Times, March 12, p. C-1

1970 "Untitled", Max's Kansas City, New York Sozanski, Edward J.: "Artist's Themes are Sexism, Racism", The Philadelphia Inquirer, Videotapeography: March 16 1988 "The Big Four-Oh", instaUation, edited by Bob Boilen Taubin, Amy: "Adrian Piper", Choices: Video, The "Cornered", installation, edited by Bob Boilen Village Voice, March 28, p. 45 11" "My Calling (Card) #1 and #2: MetaPerformance Brenson, Michael: "Split Show of Black Artists Using 1987 "My Calling (Card) #1 and #2: MetaPerformance 1", Non-traditional Media", The New York Times, edited by Bob Boilen April 7 "Some Reflective Surfaces", edited by Bob Boilen Wallach, Amei: "Art with a Wallop", Ne)v York 1985 "Funk Lessons, What's Cooking VI", Center for Music Newsday, April 10, sec. 2, p. 4 Equipment, University of California at San Diego, Morgan, Robert: "Adrian Piper", AlRTS Magazine, La Jolla, produced by Samore Sam Summer, vol. 63, no. 10, p. 99

83 Als, Hilton: "Spotlight: Adrian Piper", FLASH ART, Barr, Barbara: "Reply to Piper", Women Artists News,

Summer, pp. 142-143 June, vol. 12, no. 2, p. 6 Raven, Arlene: "In Tongues", The Village Voice, May McEvilley, Thomas: "Adrian Vi^cv", Artforum,

30, p. 89 September, vol. 26, no. 1, pp. 128-129 Berland, Dinah: "Black's a Color in Exhibit at The Kuspit, Donald: "Adrian Piper: Self-Healing Through

Museum of Art" Lo?i_g Beach Press-Telegram Mctz-Art", Art Criticism, September, vol. 3, no. 3, Sportlight June 25, D-1, p. 3 pp. 9-16 Wallach, Amei: "Artists and Identity", The MacNeilllLehrer Report, September 8

Pincus, Robert L. : "Perpeaives on an Era Painted Red", The San Diego Union, September 17 Jinkner-Lloyd, Amy: "Women Artists Expose Raw Emotions in 'Autobiography' Exhibition at Nexus", The Atlanta-Journal Constitution, October 1988 Thompson, Mildred: "Interview: Adrian Piper", ART PAPERS, March/April, vol. 12, no. 2, pp. 27-30 Hammond, Marsha: "Adrian Piper", ART PAPERS, March/April, pp. 40-41 Raven, Arlene: "Colored", The Village Voice, May 31, p. 92 Lida, Marc: "Outside Looking In", 108 Review 12, May/June, pp. 1, 5 Editorial Board, "1987 in Review^', Arr in America,

Annual 1988-89, August, vol. 76, no. 8, p. 53 Langer, Cassandra: "Autobiography: In Her Own Image", Women Artists News, Fall, vol. 13, no. 3, pp. 26-27 Boyd, Wallace: "Image Reveals Personal Art", The Emory

Wheel, October 18, p. 8 MuUins, Melissa: " 'Lay On Top of Me' and Other Art Works at the Nexus Center", The Technique,

October 28, p. 17 Purchase, Steve: "13 Artists Act Out Their Work", The Baltimore Evening Sun, November 24 Shortal, Helen: "Action Works", The Baltimore City

Paper, December 16, p. 14 Staniszewski, Mary Anne: "Conceptual Art", FLASH ART, November/December, pp. 88-97

1987 Taubin, Amy: "Self-Life", The Village Voice, March 1, p. 55-56 Cullinan, Helen: "Two Black Women Artists Travel on Parallel Paths", The Cleveland Plain Dealer,

February 1, p. H-7 Tsatsos, Irene: "A Dialogue with Adrian Piper", P-Form 2, April/May, pp. 22-25 Brenson, Michael: "Adrian Piper", The New York Times,

May 1, p. C31 Hess, Elizabeth: "Ways of Seeing Adrian Piper", The

Village Voice, May 26, p. 100 Hopkins, Mary: "Women's Caucus for Art", Women Artists News, June, vol. 12, no. 2, pp. 3-4

84 r ARNALDO ROCHE F(ABELL

86 The Important Thing is Not to be Part ofthe Body Count 1990 oil on canvas

96 X 96 inches

87 The Pain and Despair 1990

oil on canvas

96 X 96 inches

88 For the Record: The Eleventh Commandment 1990 oil on canvas

96 X 96 inches

89 ARNALDO ROCHERABELL

Born 1955, Santurce, Puerto Rico "National Drawing Invitational", Arkansas Arts Resides in Chicago, Illinois and San Juan, Puerto Rico Center, Little Rock 1989 "Second International Biennial of Painting', Museum Education: of Modern Art, Cuencas, Ecuador Rico, Piedras, School of Architecture, University of Puerto Rio "Chicago Artists in the European Tradition", Museum 1974-78 of Contemporar)' Art, Chicago, Illinois School of the Art Institute, Chicago, lUinois, B.F.A., 1982 "Contemporar)' Puerto Rican Artists", Chicago and School of the Art Institute, Chicago, Illinois, M.F.A., 1984 traveled throughout Illinois 1988 "Latin Expressions", Illinois Bell Gallery, Chicago Position: "Adivina Chicago Expressions", Mexican Fine Arts Self employed Center, Mexico Cit)', Mexico Grants/Awards/Fellowships: "Nick Quijano and Arnaldo F.oche Pay Homenage to 1989 Biennial of Cuencas, Ecuador, Third Prize Campeche", MoCHA, (Museum of Contemporary Art), traveled the 1984 School of the Art Institute, National Dean List Award Hispanic New York and to Chase 1982 James Nelson Raymond Traveling Fellowship Manhattan Bank, Hato Rey, Puerto Rico 1981 Medallion of Lincoln Award 1987 "Art of the Fantastic Latin America 1920-1987", Indianapolis Museum of Art, Indiana and traveled Solo Exhibitions: to the Queens Museum, Flushing, New York; 1990 Galeria Botello, Hato Rey, Puerto Rico Center for the Fine Arts, Miami, Florida; Frumkin/Adams Gallery, New York Centre Cultural/Arte Contemporaneo, Mexico

1989 InterAmericana Art Gallery, Miami-Dade Community Cit}', Mexico College, Florida "Contemporary' Hispanic Art in the United States", Loyola University, Chicago, Illinois Museum of Fine Arts, Houston, Texas and traveled Galeria Botello, Hato Rey, Puerto Rico to the Cocoran Galler)' of Art, Washington, D.C.; Sette Gallery, Scarsdale, Arizona Brooklyn Museum, New York; Los Angeles County 1988 Struve Gallery, Chicago, Illinois Museum, California; Denver Art Museum, Colorado, St. Louis Gallery of Contemporary Art, Missouri Museo Rufino Tamayo, Mexico Cit)', Mexico 1987 Chicago Public Library Cultural Center, Illinois "XIX Sao Paulo Biennial", Sao Paulo, Brazil Galeria Botello, Hato Rey, Puerto Rico "Recent Developments in Latin American Drawing", 1986 Museum of the University of Puerto Rico, Rio Piedras Art Institute of Chicago, Illinois 1984 Museum de Arte de Ponce, Puerto Rico and traveled 1986 "Puerto Rican Paintings Between Past and Present",

to Arsenal de la Puntilla, San Juan, Puerto Rico Museum of Modern Art of Latin America, 1983 Contemporary Art Workshop, Chicago, Illinois Washington, D.C. and traveled to Squibb Gallery, James Varchmin Gallery, Chicago, Illinois Princeton, New Jersey; Museo del Barrio, New York and Museum of the Universit}' of Puerto Selected Group Exhibitions: Rico, Rio Piedras 1990 "The Decade Show'', of MoCHA, (Museum "Eight of the Eighties", Arsenal de la Puntilla, San Contemporary Hispanic Art), New York Juan, Puerto Rico Art from Puerto Rico", of Fine Arts, "New Museum 1985 "Made in America — The Great Lakes States", Springfield, Massachusetts Alternative Museum, New York "Figuracion/Fabulacion: 75 Years of Latin American "81st Exhibition of Artists of Chicago and Vicinity", Paintings", Fine Arts, Caracas, Museum of The Art Institute of Chicago, Illinois Venezuela "Collective Exhibit", Peter Miller Galler}', Chicago, "Signs of the Self: Changing Perceptions", Woodstock Illinois Artists Association, Inc., York New "Unique Works on Paper", Arsenal de la Puntilla, San "Earth; Latin American Visions", Museum of Fine Arts, Juan, Puerto Rico Caracas, Venezuela "New Visions", Gloria Luria Gallery, Miami, Florida

90 Collections: Metropolitan Museum of Art, New York, NY Art Institute of Chicago, Illinois Museum of Modern Art, Cuencas, Ecuador Tucson Museum of Art, Arizona Fundacion Cultural de Mexico, Mexico, D.F. The Archer Huntington Art Gallery, University of Texas, Austin Museum of Contemporary Art of Puerto Rico, San Juan

Carson, Pirie, Scott and Company, Chicago, Illinois Luis Munoz Marin Foundation, Rio Piedros, Puerto Rico Luis A. Ferre Foundation, Ponce, Puerto Rico The Chase Manhattan Bank, Hato Rey, Puerto Rico Continental lUinois National Bank & Trust Co., Chicago KAY Untitled Gnd 1990 gouache, enamel sign paint on paper

88 X 128 inches overall antititian 1990 gouache, enamel sign paint on paper

20 X 30 inches noink

noink pi0mentless 1990 enamel sign paint on canvas

13%x20 inches (left)

13% X 40 inches (right)

95 '1

tthhee ffoorrreeesstt

the forest for the trees 1990 enamel sign paint on wall

144 \ 144 inches

installation at the Center for Contemporar)' Art, Chicago, Illinois (reproduced only)

96 Blanch MURmur- M-murd- memorx arose edED: erer! memoxy

Rosa MIKE'S s t-s t- memxry blanch- mike's utter- mexory edid! DEAD edEd mxmory

(left to right)

Surprise 1988

Technical Difficulties 1988

Sp-spit it Out 1988 Blanks 1988 (two panels) Ex-Ed 1988 enamel sign paint on canvas

32 X 20 inches each

(reprcxiuced only)

97 Technical Difficulties 1988 enamel sign paint on canvas 32 X 20 inches

(reproduced only) :

KAY ROSEN

Born 1947, Corpus Christi, Texas "Your Message Here", (Billboard Exhibition), Resides in Gary, Indiana Randolph Street Gallery, Chicago, Illinois "The Clinic", Simon Watson Gallery, New York

Education: .", "In the Beginning . . Cleveland Center for H. Sophie Newcomb College of Tulane University, Contemporary Art, Ohio New Orleans, Louisiana, B.F.A., 1965 "The Thing Itself, Feature, New York Northwestern University, Evanston, Illinois, M.A., 1966 "Figure: See Feign", Center for Contemporary Art, Chicago, Illinois Position: "Work on Paper, an Invitational Exhibition", Paula Self employed Allen Gallery, New York Grants/Awards/Fellowships "Art Against AIDS-On the Road", (50 Bus Tailgates), 1989 National Endowment for the Arts Chicago, Illinois 1987 National Endowment for the Arts "Five Installation Artists", Dart Gallery, Chicago, Illinois Solo Exhibitions: "Looking For Trouble", XS Gallery, Carson City, 1991 Insam-Gleicher Gallery, Chicago, Illinois Nevada 1990 Feature, New York 1989 "AIDS: A Time Line 1979-1990", MATRIX, Victoria Miro Gallery, London, England University Art Museum of California, Berkeley Witte de With (Kunsthalle), Rotterdam, and traveled to Wadsworth Atheneum, Hartford, The Netherlands Connecticut; The Clocktower, New York 1989 Feature, New York "Dorothy", Center for Contemporary Art, Chicago, 1988 Feature, New York Illinois Feature, Chicago, Illinois "Doubletake", The Contemporary Arts Center, 1987 Feature, Chicago, Illinois Cincinnati Ohio 1986 Ohio State University, Wexner Center for the Visual "Romancing the Stone", Feature, New York Arts, Columbus "Problems with Reading Rereading", Rhona Hoffman De Free Gallery, Hope College, Holland, Michigan Galler)', Chicago, Illinois 1984 New Museum of Contemporary Art, New York "The Center Show", The Lesbian and Gay Community Feature, Chicago, Illinois Services Center, New York 1983 Berdia Urdang Gallery, New York 1988 "From Right to Left", Churchman Fehsenfeld 1 98 1 Bertha Urdang Gallery, New York Gallery, Indianapolis, Indiana 1980 Franklin Furnace, New York "Contention", New Langton Arts, San Francisco, 1979 Bertha Urdang Gallery, New York California "Brave and Cruel", Randolph Street Gallery, Chicago, Group Exhibitions: Illinois "Site Specific: Artists", 1991 Three Shedhalle, Zurich, "Information As Ornament", Feature, Chicago, Illinois Switzerland "Drawings", Robbin Lockett Gallery, Chicago, Illinois "A New Low", Claudio Botello Gallery, Turin, Italy "Plato's Cave", Greathouse Gallery, New York "Five Artists", Marta Cervera Gallery, New York "Cartoon Like", MoMing Dance & Art Center Gallery, "Artists in Words and #s", Wright State University Chicago, Illinois

Museum of Contemporary Art, Dayton, Ohio .", "The Text Does Not Explain . . Stux Gallery, "News as Muse", School 33 Art Center, Baltimore, Boston, Massachusetts Maryland "The Language of Form, The Form of Language",

1 990 "Word as Image : American Art 1 960- 1 990", Rosa Esman Gallery, New York Milwaukee Art Museum, Wisconsin "Romantic Distance", Jeffrey Neal Gallery, New York "Broken Lines", Victoria Miro Gallery, London, 1987 "Signs of Intelligent Life", Greathouse Gallery, England New York 1

"New Chicago", Tangeman Fine Arts Gallery, Morgan, Stuart: "Kay Rosen, Victoria Miro", Time University of Cincinnati, Ohio Out, London, September 26-October 3 "Fall Group Show", Jan Baum Gallery, Los Angeles, Steimer, Flora: "Pionierstaak wzzrgemnakf, Agetleen California Da£iblad, Rotterdam, October 3 "Wet Paint", Robbin Lockett Gallery, Chicago, Illinois Thompson, Mark: "Kay Rosen, Ed Ruscha",^rf Chicago, Illinois "Knew", Feature, Monthly, London, November, pp. 22-23 "Summer Group Show", American Fine Arts, Co., Kirshner, Judith Russe: "Read Read Rosens", New York Artforum, December, pp. 91-95 "Dark Laughter", Randolph Street Gallery, Chicago, 1989 Wittig, Robert: "Kay Rosen at Feature", Art in

Illinois America, January, p. 157 "The Non-Spiritual in Art; Abstract Painting From Palmer, Laurie: "Problems With Reading Rereading, 1985-????, Feature, Chicago, Illinois Rhona Hoffman Gallery", Artforum, September,

"Nature", Feature, Chicago, Illinois p. 151 1986 "Invitational Show of Women Artists", Feature, Scanlan, Joseph: "Problems With Reading Rereading, Chicago, Illinois Rhona Hoffman Artscribe, GnWery" ,

"Cr)'ptic Languages", Washington Project for the Arts, September/October, p. 84 Washington, D.C. Hixson, Kathryn: "'DoTox.hf\ ARTS Magazine, "Spiritual America", Center for Exploratory and November, pp. 109-110 Perceptual Art Buffalo, (CEPA), New York 1988 Artner, Alan: Chicago Tribune, March 17, section 5, "Promises, Promises", Feature, Chicago, Illinois p. 14 1985 "National Artists Book Exhibit", Fifth Conference of Spector, Buzz: "Kay Rosen, Feature", Artforum, May, Artists Organizations, Houston, Texas p. 154 "Critical Messages: The Use of Public Media for Scanlan, Joseph: "Kay Rosen, Feature", dialogue, Political Art by Women", Artemisia Gallery, July/August, pp. 33-34 Chicago, Illinois Shaneflf, Angela: "Kay Rosen Draws on Words", "Messages From the Interior", N.A.M.E. Gallery, Indiana Arts Commission, Quarterly,

Chicago, Illinois Summer, p. 4 "Invitational Show", Feature, Chicago, Illinois 1987 Artner, Alan: Review, Chicago Tribune, March 12,

"Invitational Show", Rhona Hoffman Gallery, Chicago, section 5, p. F-9 Illinois Robinson, Walter: "State of the Art: Young, Gifted and Affordable", Metropolitan Home, Publications: November, p. 58 1990 "AIDS: A Time Line'\ Art in America, Group Material Project Catalogs: "Little Critic Pamphlet 3", Victoria Miro Gallery, 1 990 "Text As Image : American Art 1 960- 1 990", London, England Milwaukee Art Museum, essay by Russell Bowman 1989 "P-Form", # 1 2, Randolph Street GaUery, Chicago, "Looking for Trouble", XS Gallery, essay by Timothy Illinois Porges "Journal", Los Angeles Institute of Contemporary "Figure: See Feign", Center for Contemporary Art, Art, California essay by Kathryn Hixson "WhiteWalls, Inc.", #21, Chicago, Illinois 1988 "From Right To Left", Churchman Fehsenfeld 1988 "Farm", Feature and ICI, Chicago, Illinois Gallery, Indianapolis, Indiana, essay by Christopher 1987 "Farm", Feature and ICI, Chicago, Illinois Scoates

1986 "Reallife", #15, New York "Information as Ornament", Feature, Chicago, Illinois, 1985 "WhiteWaUs, Inc.", #12, Chicago, lUinois essays by David Robbins and Kevin Maginnis 1987 "Non-Spiritual In Art: Abstract Painting From Bibliography: 1985 — ????" Feature, Chicago, Illinois, essay by 1991 Mahoney, Robert: "Kay Rosen, Feature", ARTS Richard Bretell and Kevin Maginnis Magazine, January, p. 104 1986 "Spiritual America", Center for Exploratory and Gillick, Liam: "Kay Rosen, Victoria M\rd'\Artscribe, Perceptual Art, Buffalo, New York, essay by Tricia January-Febmary, p. 76 Collins and Richard Milazzo 1990 Smith, Roberta: "The Group Show As Crystal Ball", The New York Times, July 6, pp. C-12, C-23

100

JESSICA STOCKHOLDER

102 103 Untitled 1989 — (front view) Sheetrock, metal studs, small footstool, moss, Saran Wrap 65 X 48 X 24 inches Untitled 1989 — (back view) Sheetrock, metal studs, small footstool, moss, Saran Wrap

65 X 48 X 24 inches Untitled 1988 underwear, newspaper, glue, paint, light, wood, Sheetrock 54x48x 18 inches Untitled 1988 small table, paper, paint, single sheet of glass on the wall 50 X 18 X 38 inches

107 Untitled 1987 wood, electrical lamps, paint, papier-mache

48 X 36 X 24 inches :

JESSICA STOCKHOLDER

Born 1959, Seattle, Washington 1989 Berkshire Museum, Pittsfield, Massachusetts Resides in Brooklyn, New York American Fine Arts, Co., New York

"Making a Clean Edge", P.S. 1, Long Island City, Education: New York University of Victoria, Canada, B.F.A., 1982 "A Climate of Site", Gallery Barbara Farber, Yale University, New Haven, Connecticut, M.F.A., 1985 Amsterdam, The Netherlands Xavier Hufkens, Brussels, Belgium Position: 1988 "Artists and Curators", John Gibson, York Self employed New 1985 "Selections from the Artist Files", Artists Space, Grants/Awards/Fellowships New York 1990 Canada Council "B" Grant 1982 Open Space Gallery, Victoria, Canada 1989 New York Foundation for the Arts Bibliography: 1988 National Endowment for the Arts 1990 Smith, Roberta: The New York Times, Canada Council "B" Grant March 2 Nickas, Robert: FLASH ART, March/April, 1987 Canada Council "B" Grant 132-133 1985 Susan H. Whedon Award, Yale University pp. Saltz, Jerry: "Mis-appropriation", ARTS M^azOTf, 1984 Canada Council Short Term Grant April, 21 Ontario Arts Council Grant p. Spector, Nancy: Contemporanea, Summer, 116 1983 Artists in the Schools Grant, Ontario, Canada p. Siegel, ]cznnc: ARTS Magazine, Summer, p. 77

Solo Exhibitions: Avgikos, Jan: Artscribe, Summer, p. 78 1991 Witte de With (Kunsthalle), Rotterdam, The Schaffner, Ingrid: "Jessica Stockholder", Sculpture Netherlands Magazine, July/August 1990 American Fine Arts, Co., New York Levin, Kim: "Detritus", Village Voice, August 1989 Mattress Factory, Pittsburgh, Pennsylvania Levin, Kim: "Detritus", TheNav Yorker, August 6 1988 Mercer Union, Toronto, Canada Ruzicka, Joseph: Art In America, September, p. 196 1987 Contemporary Art Gallery, Vancouver, Canada Bankowsky, Jack: "The Obligatory Bed Piece", 1985 Malinda Wyatt Gallery, New York Artforum, October, pp. 140-145 Yale University, New Haven, Connecticut Mueller, Hans-Juergen: "We can put you on the 1984 ArtCulture Resource Center, Toronto, Canada Waiting-List", Kunstforum, November/December, p. 330 Exhibitions: Group Mahoney, Robert: "Jessica Stockholder: Where it 1991 "The Broken Mirror", Wesleyan University, Happened", Sculpture, November/December,

Middletown, Connecticut p. 64-67 1990 "Stendhal Syndrom: The Cure", Andrea Rosen Parks, Addison: "Going It AJone With Sculpture", The Gallery, New York Christian Science Monitor, November 29 Daniel Weinberg Gallery, Los Angeles, California "Detritus", Jack Tilton Gallery, New York Catalogs: "Pop 90", Postmasters, New York 1990 "Contingent Realms: Four Contemporary Sculptors", "The Partnership for the Homeless", Christie's, Whitney Museum of American Art, New York, New York essay by Adam D. Weinberg "Le Choix Des Femmes", Le Consortium, Dijon, France 1989 "A Climate of Site", Gallery Barbara Faber, "Contingent Realms", The Whitney Museum of Amsterdam, The Netherlands, essay by Robert Nickas American Art at Equitable Center, New York 1987 "It's Not Over Til The Fat Lady Sings", "Mary Hellman and Jessica Stockholder", Isabella Contemporary Art Gallery, Vancouver, Canada, Kacprzak Gallery, Cologne, Germany essay by Mark Holmes

109 EXHIBITION CHECKLIST

CARLOS ALFONZO 7. Untitled (673) 1990 mixed media 1. Blood 1991 74 X 52 X 43 inches (top) oil on linen 30 X 51 X 42 inches (bottom) 96 X 132 inches Courtesy of the artist and the Jack Shainman Gallery, New York Courtesy of the Estate of Carlos Alfonzo 2. Witness 1990 JAMES HAYWARD oil on linen Moorpark, California 84 X 84 inches 8. to the Vestal Version Private Collection, Miami, Florida Homa0e Muse: 1990 magnesium blue, magnesium violet, cadmium yellow medium, 3. Home 1990 cadmium green, cadmium red medium, cadmium yellow light, oil on linen cobalt green, cobalt violet light, cadmium red light, cobalt blue, 120x84 inches cadmium red dark, cadmium orange, viridian, cerulean blue, Courtesy of the Estate of Carlos Alfonzo cadmium yellow STEVE BARRY 011 and wax on canvas on board 103 X 179 inches overall Corrales, New Mexico Courtesy of the artist and ACE Contemporary Exhibitions, 4. Consenator (The Fifth Horse) 1991 Los Angeles, California

horse skeleton, steel, plexiglass, motor, electronics, projected image TONY LABAT 84 X 96 X 60 inches San Francisco, California Courtesy of the artist 9. Damd and Goliath TV 1991 PETAH COYNE wood, vinvl, mirror, video, camera dimensions variable New York, New York Collection of Anne Marie MacDonald and Bridget Anne Untitled (670) 1990 Manoogian, San Francisco, California mixed media 144 X 62 X 48 inches CARY S. LEIBOWITZ/CANDYASS Courtesy of the artist and the Jack Shainman Caller)', New York New York, New York Untitled (672) 1990 10. An Artist's Statement 1990 mixed media offset lithograph — edition of 200 102 X 66 X 60 inches 12 X 14 inches Courtesy of the artist and the Jack Shainman Gallery, New York Courtesy of the artist and the Stux Gallery, New York

110 11. GAT art. 1990 24. Candyass Kitchen 1990 latex on board set of six porcelain plates — edition of 52 16x16 inches 10 inches in diameter each Courtesy of the artist and the Stux Caller)', New York Courtesy of the artist and the Stux Gallery, New York 12. HErEi Am Please dONT BE MeAn. 1990 25. 1 WANT TO LUV U BUTT I DONT KNOW latex on board HOW 1990 24 x 24 inches ten wood baseball bats — edition of 90 Courtesy of the artist and the Stux Gallery, New York 18 inches each

1 Courtesy of the artist and the Stux Gallery, York 3 . ifu try realLy hard AND stiLL fail U deseR Ve all tHE New sTmpathY U can ^et. 1990 26. KICK ME PANTS 1990 latex on board beige pants 16 X 24 inches 42 X 20 inches Courtesy of the artist and the Stux Gallery, New York Courtesy of the artist and the Stux Gallery, New York

14. I Like art Just the WaT it is 1990 27. The Lottery 1988-89

latex on board six rolls of plastic bags 10 X 80 inches dimensions variable Courtesy of the artist and the Stux Galler)', New York Courtesy of the artist and the Stux Gallery, New York

1 5 . THERE R 2 THiNGS I NEED 2 WatcH 4 THE rest OfmT 28. / WILL MAKE A CUBIST PAINTING SOMEDAY BUT Life: MT WEiGHtAND MT RacisM. 1990 RIGHT NOW TT IS NOT IMPORTANT 1 990 latex on board six stuffed teddy bears 16 x 16 inches 7x5x6 inches each Courtesy of the artist and the Stux Gallery, New York Courtesy of the artist and the Stux Gallery, New York 16. U Cant B Dead ALL the TiMe. 1990 29. why change 1989 latex on board typed print on yellow lined paper 24 X 16 inches 13x15 inches Courtesy of the artist and the Stux Gallery, New York Courtesy of the artist and the Stux Gallery, New York

17. MISerT Loves Company 1990 30. a life ofdetermination 1989 latex on board typed print on yellow lined paper 24 x 24 inches 13x15 inches Courtesy of the artist and the Stux Gallery, New York Courtesy of the artist and the Stux Gallery, New York 18. Misery Life of 1988 3 1 . people said things wheregoinggreat 1 989 engraving — edition of 100 typed print on yellow lined paper 37 X 18 inches 13x15 inches Courtesy of the artist and the Stux Gallery, New York Courtesy of the artist and the Stux Gallery, New York 19. Depression Pennants 1990 DROP DEAD ADRIAN PIPER UFE SUCKS Wellesley, Massachusetts GO MADNESS 32. Safe 1990

MLSERT RULES mixed media installation with photographs and silkscreen text, six sets of four felt pennants — edition of 250 audio soundtrack, stereo equipment 9 x 24 inches each Panel #1 — 25 x 39i/4 inches Courtesy of the artist and the Stux Gallery, New York Panel #2 — 30i/4 x 42 inches Panel x 25 inches 20. he tried to feel£ood 1990 #3 — 30% Panel #4 — 44'/4 x 39 inches floor mat — edition of eight Courtesy of the artist and the John Weber Gallery, York 72 X 192 inches New Courtesy of the artist and the Stux Caller)', New York 33. Pretend #3 1990 21. LOSER LINE FORMS HERE 1990 photographs with silkscreen text Photo #1 — 43 Vs X 64 inches floor mat — edition of eight Photo #2 — 121/2 X 29y8 inches 60 X 84 inches Photo #3 — 671/2 X 291/4 inches Courtesy of the artist and the Stux Gallery, New York Photo #4 — 18% X 371/8 inches 22. I am a miserable and personi Selfish Photo #5 — 36 X 31 inches I REALLY AM VERT LUCKY 1990 Collection of Eileen and Peter Norton, Santa Monica, California two rolls of wall paper 34. Free #2 1989 29 X 84 inches each photographs with silkscreen text Courtesy of the artist and the Stux Gallery, New York Photo #1 — 481/2 X 30 inches 23. A WHINEYASSHOLE 1990 Photo #2 — 371/4 X 521/2 inches ten cardboard boxes — edition of 200 Courtesy of the artist and the John Weber Gallery, New York 46 X 70 inches each 35. Ur Mutter #2 1989 Courtesy of the artist and the Stux Gallery, New York photograph with silkscreen text 40 X 23 inches Courtesy of the artist and the John Weber Gallery, New York

111 ARNALDO ROCHE RABELL Chicago, Illinois

36. The Impottant Thiiiff is not to be Part ofthe Body Count 1990 oil on canvas 96 X 96 inches Courtesy of the artist and tiie Frumicin/Adams Gaiien,', New York

37. The Pain and Despair 1990

oil on canvas 96 X 96 inches Collection of Stephane Janssen, Carefree, Arizona

38. For the Record: The Eleventh Commandment 1990

oil on canvas 96 X 96 inches Collection of Dr. and Mrs. Alfreci Cisneros, Elburn, Illinois KAY ROSEN Gary, Indiana 39. Untitled Grid 1990 gouache, enamel sign paint on paper 20 X 30 inches each 88 X 128 inches overall Courtesy of the artist and Feature, New York 40. notnk pi^mentless 1990 enamel sign paint on canvas 13% X 20 inches 13ysx40 inches Collection of Laura L. Carpenter, Santa Fe, New Mexico and courtesy of Insam-Glcicher Callers', Chicago, Illinois

4 1 . the forestfor the trees 1 990 enamel sign paint on canx'as 13% X 20 inches 13%x40 inches Loaned by the Whatley Collection, Austin, Texas JESSICA STOCKHOLDER Brooklyn, New York 42. Untitled 1989 Sheetrock, wood, metal, car door, light, extension cord, cloth 48 X 54 X 18 inches Collection of Alice and Mar\'in Kosmin, New York 43. Untitled 1989 Sheetrock, metal studs, small footstool, moss, Satan Wrap 65 X 48 X 24 inches Courtesy of the artist and the American Fine Arts, Co., New York 44. Untitled 1988 underwear, newspaper, glue, paint, light, wood, Sheetrock 54 X 48 X 18 inches Collection of Susan and Michael Hort, Scarsdale, New York 45. Untitled 1988 small table, paper, paint, single sheet of glass on the wall 50 X 18 x 38 inches

Collection of Robert J. Shiffler, Greenville, Ohio 46. Untitled 1987 wood, electrical lamps, papier-mache, paint 48 x 36 X 24 inches Collection of Ruth Kaufmann, New York

112

AWARDS IN THE VISUAL ARTS GUIDELINES AND PROCEDURES

Awards in the Visual Arts Guidelines by one or more of the award recipients is purchased with these flinds. The Awards in the Visual Arts (AVA) program annually announces ten awards of $15,000 each, distributed Procedures for Identifying Nominators within ten areas of the United States designated according and Jurors to artist per capita population. AVA goes to "the field" to compile lists of respected Artists are eligible for AVA awards by nomination only, artists, museum directors, curators, and critics from all and must be citizens of the United States. One hundred parts of the country. Potential nominators and jurors are nominators, drawn from across the country and represent- recommended through a network of visual arts profes- ing all major visual arts disciplines, are each invited to sionals. Each year one hundred nominators — ten from submit to the AVA staff at the Southeastern Center for each of the ten geographic regions — are identified, as Contemporary Art (SECCA) the names of five artists well as a group of national jurors who make the final Hving and working in their respective areas. Artists work- selection of ten artists from the names submitted. ing in all media are eligible for nomination. The result is a maximum of five hundred nominated artists, although AVA Exhibition Program some nominators submit fewer than five names and some- Along with financial support for artists, AVA believes times there are duplicate nominations. These artists are in the importance of recognition through pubUc exhibi- then furnished with instructions for submitting slides and tion of work. Wide exposure to a national audience is an related material to the national jury. In the event of re- essential element of the AVA concept. Since ten artists are ceiving an award, each nominee is asked to commit work selected annually by a national jury, one exhibition will be to a national exhibition and its subsequent tour. All nomi- circulating while a new selection is under way. This exhi- nees are invited to have their slides placed in the AVA bition program requires that participating slide reference registry — a slide library intended to be- museums commit in advance to a totally unknown show, come a major contemporary art resource. one in which the very artists have yet to be determined. To encourage acquisition ofworks by AVA award recipi- This commitment reflects the participating museums' dedi- ents, museums participating in the exhibition tour are cation to new work — emerging concepts and talents — given $10,000 purchase grants. A work (or works) and, like any commitment to an unknown, it is an act

of faith. AVA AREAS AREA 6 This map of the United States illustrates in bold the Indiana, Kentucky, Michigan, and Ohio. boundaries of the ten Awards in the Visual Arts areas. Divisions are based on artist population density with AREA 7

statistical data provided by the United States Bureau Illinois, Iowa, Wisconsin, Minnesota, and Missouri. of the Census. AREA 8 AREA 1 Alaska, Idaho, Montana, Nebraska, North Dakota, Connecticut, Maine, Massachusetts, New Hampshire, Northern California, Oregon, South Dakota, Rhode Island, Upstate New York, and Vermont. Washington, Wyoming, Nevada, and Colorado.

AREA 2 AREA 9 Manhattan Borough of New York. Arizona, Kansas, New Mexico, Oklahoma, Texas, and Utah. AREA 3 New York boroughs other than Manhattan, including AREA 10 Westchester County and Long Island, New Jersey, Hawaii and Southern California. and Pennsylvania. AWARDS IN THE VISUAL ARTS STAFF AREA 4 AVA Program Director: Ted Potter Delaware, District of Columbia, Maryland, Virginia, Director West Virginia, Tennessee, and North Carolina. Southeastern Center for Contemporary Art

AVA Assistant Director: Virginia S. Rutter AREA 5 AVA Secretary: Cher Plouffe Jeffreys Alabama, Arkansas, Florida, Georgia, Louisiana, Mississippi, Puerto Rico, South Carolina, and Exhibition Coordinator: Jeff Fleming Virgin Islands.

115 AWARD S IN T H E

V I S A L ARTSU RECIPIENTS

AVA 1 AVA 3 Michael Singer Area 1 Robert Gumming Area 1 Richard Bosman Area 2 Donald Lipski Area 2 * Edward Flood Area 3 Rolando Briseno Area 3 Maurie Kerrigan Area 4 Genoa Watson Area 4 Douglas Bourgeois Area 5 Leonard Koscianski Area 5 Michael Luchs Area 6 Edward Mayer Area 6 Stephen Schultz Area 7 Margaret Wharton Area 7 Marsha Burns Area 8 Tom Marioni Area 8 RJchard Schaffer Area 9 Louis Carlos Bernal Area 9 Terr)' Allen Area 10 Robert Therrien Area 10

AVA 2 AVA 4 John McNamara 1 Area Jon Imber Area 1 Philip Allen Area 2 *Ana Mendieta Area 2 Herman Cherry Area 3 Sidney Goodman Area 3 Emmet Gowin Area 4 Peter Charles Area 4 Blue Sky Area 5 Don Cooper Area 5 Gloria Thomas Area 6 Bert Brouwer Area 6 Ada Medina Area 7 JoAnne Carson Area 7 Doug Hall Area 8 John Buck Area 8 Jesus Moroles Area 9 Luis Jimenez Area 9 Marvin Harden Area 10 James Croak Area 10

116 AVA 5 AVA 9 Doreen Kraft Area 1 Mike Glier Area 1 Heide Fasnacht Area 2 Lisa Hoke Area 2 Michael Kessler Area 3 Lorna Simpson Area 3 A A Alan Stone Area 4 Sally Mann Area 4 Clyde Connell Area 5 Martin Emanuel Area 5 Gordon Newton Area 6 Malcolm Cochran Area 6 Jin Soo Kim Area 7 Tony Tasset Area 7 Robert Helm Area 8 Raymond Saunders Area 8 Mark Klett Area 9 Randy Twaddle Area 9 Allen Ruppersberg Area 10 Ann Hamilton Area 10

AVA 6 AVA iO Bill Seaman Area 1 Gary S. Leibowitz Area 1 Ross Bleckner Area 2 Petah Coyne Area 2 Archie Rand Area 3 Jessica Stockholder Area 3 William WiUis Area 4 Adrian Piper Area 4 James Michaels Area 5 * Carlos Alfonzo Area 5 Peter Huttinger Area 6 Kay Rosen Area 6 Hollis Sigler Area 7 Arnaldo Roche-Rabell Area 7 Christopher Brown Area 8 Tony Labat Area 8 Michael Tracy Area 9 Steve Barry Area 9 Jill Giegerich Area 10 James Hayward Area 10

AVA 7 Cliffton Peacock Area 1 Andres Serrano Area 2 Roni Horn Area 3 Jim Sanborn Area 4 James Herbert Area 5 ^(Deceased) Michael Nakoneczny Area 6 Jim Lutes Area 7 David Ireland Area 8 Vernon Fisher Area 9 Mike Keliey Area 10

AVA 8

Ann McCoy Area 1 Erik Levine Area 2 David Hammons Area 3 Patrick Dougherty Area 4 Ron Fondaw Area 5 Ed Fraga Area 6 Charles Wilson Area 7 Paul Kos Area 8 James Drake Area 9 Jo Ann Callis Area 10 AWARDS IN THE VISUAL ARTS 10 JURY

Robert Colescott Artist and Professor University of Arizona Tucson, Arizona

Amada Cruz Assistant Curator Hirshhorn Museum and Sculpture Garden Smithsonian Institution Washington, DC

Susanne Ghez Director Renaissance Society Chicago, Illinois

James Melchert Artist and Professor University of California Berkeley, California

Barry Schwabsky Editor and Critic ARTS Magazine New York, New York AWARDS IN THE VISUAL ARTS EXECUTIVE COMMITTEE

Noel L. Dunn Chairman and Chief Executive Officer Rollins Burdick Hunter of the Carolinas, Inc. Winston-Salem, North Carolina

Karl Gerlinger President BMW of North America, Inc. WoodclifF Lake, New Jersey

Dr. Alberta Arthurs Director, Arts and Humanities The Rockefeller Foundation New York, New York

Ted Potter Director Southeastern Center for Contemporary Art, and Awards in the Visual Arts Winston-Salem, North Carolina AWARDS IN THE VISUAL ARTS NATIONAL PROFESSIONAL COUNCIL

Siizaime Delehanty Director Contemporary Arts Museum Houston, Texas

James Demetrion Director Hirshhorn Museum and Sculpture Garden Smithsonian Institution Washington, DC

Mel Edwards Artist New York

Peter Frank Critic and Professor Los Angeles, California

Marge Goldwater Director Isamu Noguchi Garden Museum Long Island City, New York

Richard Hunt Artist

Chicago, Illinois Luis Jimenez, Jr. Dr. Harry Rand Artist Curator, Painting and Sculpture Hondo, New Mexico National Museum of American Art Smithsonian Institution Janet Kardon Washington, DC Director American Craft Museum Barry Schwabsky New York, New York Editor and Critic ARTS Mafjazine Richard Koshalek New York, New York Director The Museum of Contemporary Art George Segal Los Angeles, California Artist New Brunswick, New Jersey Dr. Donald Kuspit Critic and Professor Roy Slade State University of New York at Stony Brook Director New York, New York Cranbrook Academy of Art Museum Bloomfield Hills, Michigan Dr. Thomas Leavitt Director Wayne Thiebaud Herbert F. Johnson Museum of Art Artist and Professor Cornell University University of California Ithaca, New York Davis, California

James Melchert Dianne Vanderlip Professor Curator, 20th Century Art University of California at Berkeley Denver Art Museum Berkeley, California Denver, Colorado

Al Nodal John Yau General Manager Critic Department of Cultural Affairs New York, New York City of Los Angeles Los Angeles, California

Bevery Pepper Artist Italy

Ted Potter Director Southeastern Center for Contemporary Art Winston-Salem, North Carolina ACKNOWLEDGEMENTS

The Awards in the Visual Arts program and its funders gratefully acknowledge the cooperation and assistance of the staff at the Hirshhorn Museum and Sculpture Garden in Washing- ton, DC; the Albuquerque Museum of Art, History and Science in New Mexico; and The Toledo Museum of Art in Ohio for making this exhibition possible. AVA recognizes the generosity of individuals and collections — Eileen and Peter Norton of Santa Monica, Califor- nia; Dr. and Mrs. Alfred Cisneros, Elburn, Illinois; Stephane Janssen, Carefree, Arizona; Alice and Marvin Kosmin and Ruth Kaufman of New York; Susan and Michael Hort of Scarsdale, New York; Anne Marie MacDonald and Bridget Anne Manoogian, San Francisco, California; the Wliatley Collection, Austin, Texas; Laura L. Carpenter of Santa Fe, New Mexico; Robert Shiftier of GreenviUe, Ohio; and the Estate of Carlos Alfonzo — who loaned works from their collections to the exhibition. Special recognition is due to the commercial galleries — Jack Shainman Gallery, Feature, Stux Gallery, John Weber Gallery, Frumkin/Adams Gallery and the American Fine Arts, Co., aU of New York; Ace Contemporary Exhibitions of Los Angeles, California; Insam-Gleicher Gallery, Chicago, Illinois; and the MincherAVilcox Gallery in San Francisco, California — which assisted in locating and loaning works for this exhibition. Published by the Southeastern Center for Contemporar)' Art, Winston-Salem, North Carolina, on the occasion of the Awards in the Visual Arts 10 exhibition which was organized by the Southeastern Center for Contemporary Art.

Library of Congress Catalogue Card Number: 84-50289 ISBN: 0-9611560-7-4

Copyright 1991 by the Southeastern Center for Contemporary Art, 750 Marguerite Drive, Winston-Salem, North Carolina 27106. Ail rights reserved. Printed in the United States of America. No part of this publication may be reproduced or distributed in any form or by any means without the prior written permission of the publisher.

Price: $20.00.

Catalogue design: Vicki Kopf/SECCA Editors: Virginia S. Rutter, Vicki Kopf, Jeff Fleming/SECCA Printing and t}'pography: Winston Printing Company

Photo credits: pp. 41, 42, Willard Taub; p. 43, Kathleen McCarthy/Courtesy Jack Shainman Gallen,'; pp. 44, 45,

Courtesy Jack Shainman Caller)'; pp. 51, 52, 53, ACE Contemporary' Exhibitions; p. 62, Squidds and Nunns/Courtesy of The Museum of Contemporan' Art, Los Angeles; pp. 67, 68, 69, 70, 71, Courtesy Sni.x Caller)'; pp. 75, 76, 78, Courtesy John Weber Gallery; p. 77, General Foods Corp.; Josh Porter; AT&T/Ken Nahoum/Courtesy John Weber Gallery; p. 79, Gerald MartineauAThe Washington Post; Tavlor Branch/Simon & Schuster; Chuck Nacke/Picture Group/Courtesy John Weber Gallen,'; p. 80, Klanwatch ArchiveAThe New York Times; Gerald Martineau/The Washing- ton Post/Courtesy John Weber Gallery; p. 81, Peter Turnley/Black Star/Courtesy John Weber Gallery; pp. 87, 89, Courtesy Frumkin/Adams Gallery'; p. 88, Craig Smith; p. 93, Tom van Eynde/Courtesy Feature; pp. 94, 95, 96, 97, 98, Courtesy Feamre; pp. 103, 104, 105, 106, 107, 108 American Fine Arts, Co.

°^ ^OR™ CAROLINA

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