Present Tense: Nine Artists in the Nineties San Franci,co Mu,eum �"'"''� of Modern Art � Janet Cardiff f)=-f -=(f Iran do Espirito Santa � Felix Gonzalez-Torres t: -=(f Jim Hadges � � Charles LeOray � � Gabriel Orozco t -=(! Jennifer Pastor f)=- � Kathryn Spence f> -=(i Steve Wolfe � � � ����'"�'"� Foreword and Acknowledgments

This catal ogue is published on the occasion of the exhibition Present Te nse: This project was conceived and ze Nine Artists in the Nineties, o rgani d by Janet Bishop, Gary Carrels, and John S. Present Tense: Nine Artists in the Nineties organized by three of the Museum·s

Weber at the San Francisco Museum of Modern Art, on view September 13, brings together artists whose work is curators: Janet Bishop, Andrew W. Mellon loosely bound by its consideration of the Foundation associate curator of painting 1997, throughJanuary 13, 1998. temporal and fragile nature of human and sculpture; Gary Garrels, Elise S.

existence and the shared ground between Haas chief curator and curator of paint­

Present Tense: Nine Artists in the Nineties is supported by the Collectors Forum of the memory and experience. While varying ing and sculpture; and John S. Weber. widely in scale and media, from extremely Leanne and George Roberts curator of San Francisco Museum of Modern Art. • intimate objects to room-sized installa­ education and public programs. Warmest © 1997 by the San Francisco Museum ;):- tions, the forty-eight works in this exhibi­ thanks are due to each of them for r&JlilA&�.�La��of Modern Art, 151 Th ird Street, San f)=- tion have in common an almost obsessive their part in this collaboration-with one --:(f Francisco, California, 94103. t);- • fascination with craft and materiality another and with the nine Present Tense ,;;(f All rights reserved. No part of this derived from internal explorations of artists with whom they worked so closely. publ icati o� may be reproduced in any ::t t loss, intimacy, and the passage of time. The curators were assisted by many However, these works were selected not other SFMOMA staff members in the

because they fit within a theoretical dis­ organization of this exhibition. In particu­ ��;;�.nt course. Instead, the appeal lies in their lar. I would like to recognize the efforts of focus on the directness of personal expe­ Olga Charyshyn, associate registrar; Neil

rience-not as a withdrawal into narcis­ Cockerline. conservator; Suzanne Feld.

sism or solipsism, but rather as an curatorial assistant; Tina Garfinkel, head

attempt to affirm 1ndiv1duality in the registrar; Barbara Levine. exhibitions

PHOTO CREDITS: world through physical place and social manager: Heather Lind. former secre­

Unless otherwise indicated below, illustrations have been supplied by the artist or by the relations. tary for the Department of Painting and

owner ofthe work as named in the catalogue of the exhibition (pages 34-36). This exhibition is part of the San Sculpture; Kent Roberts, installation Page IO: courtesy of Andrea Rosen Gallery: p. 17: photo by Marc N. Hutchinson; p. 19: Francisco Museum of Modern Art's New manager: Rico Solinas. museum techni­ photo by Tom van Eynde; p. 21: courtesy of Andrea Rosen Gallery; p. 27: photo by Ben Work series, which presents recent or cian; and Marcelene Trujillo. exhibitions

Blackwell; p. 28, top left, top right, and bottom left: photo by Fredrik Nilsen; p. 28. commissioned work by both younger and assistant. The curators and staff also bottom right: photo by Michael Tr opea; p. 31: photo by Ian Reeves; p. 32: courtesy of established artists, primarily in solo extend special thanks to John R. Lane, Daniel Weinberg Contemporary Art. exh1b1tions. It is our hope that the group former director. under whose leadership

format of this presentation will allow a this project was conceived and who has

Library of Congress Catalogue Card Number: 97-068834 fuller examination of a number of artists been an ardent supporter of the New Work

whose combined activity reflects distinc­ exhibition program for the past ten years.

IBBN:0-918471-42-7 tive-if not defining-characteristics of Express thanks are extended to the

the present moment in contemporary art. authors of the texts in this publication:

We are deeply obliged to the Collectors the three curators, who wrote lucid com­

Publication Manager: Kara Kirk Forum of the San Francisco Museum of mentary on the specific artists and work

Layout: David Albertson Design Modern Art for its generous sponsorship in the show; and guest essayists Julie

Editor: Karen A. Jacobson of this exhibition, and of the entire New Ault and Bill Hayes, who contributed more Publication Assistant: Alexandra Chappell Work series. meditative texts on some of the cultural and philosophical issues raised by this Carla Chammas. Richard Desroche. and artwork. Thanks are also due lo Suzanne Glenn McMillan, CRG Gallery, New York: Introduction Feld, who compiled the extensive bibli­ Marian Goodman and Catherine Belloy, ographies and exhi bit1on histories, and to Marian Goodman Gallery. New York: Jay Kara Kirk, SFMOMA publications man­ Gorney and Rodney Hill. Jay Gorney ager: Alexandra Chappell, SFMOMA publi­ Modern Art, New York: Lawrence Luhring cations assistant: David Albertson, and Roland Augustine, Luhring Augustine designer: and Karen A. Jacobson, editor. Gallery, New York Tom Healy and Paul for the editorial, design, and production Morris of Morris Healy Gallery, New York; expertise they brought to bear on this Andrea Rosen and Michelle Reyes. Gary Garrels project. Andrea Rosen Gallery, New York: Richard In addition to works from the Telles. Richard Telles Fine Art, Los who have established themselves only in Museum's own collection, Present Tense Angeles: Daniel Weinberg and Anna Eyes are on the millennium, imagining the the past few years. Recently we began to includes many pieces on loan from pri­ Rainer, Daniel Weinberg Contemporary epochal marker. perhaps hoping that the recognize a loose set of shared attitudes. vate and institutional collections. We are Art. San Francisco: Thea Westreich, Thea future can be glimpsed more clearly from issues, and artistic practices among geo­ deeply indebted to the following lenders Westre1ch Art Advisory Services. New such a vantage point. But in the here and graphically dispersed artists, who in most for their willingness to share their works: York; and Connie and Stephen Wirtz and now. the present, confidence in a vision cases were not aware of one another's Kathleen and Roland Augustine: Janet Bella Hubert. Stephen Wirtz Gallery, beyond the immediate seems more elu­ work, but whose works, taken together, Cardiff and Morris-Healy Gallery, New San Francisco. In addition, on behalf of sive. A sense of ineluctable urgency, at began to distill for us a current of contem­ York: Galeria Camargo Vila�a. Sao Paolo: artist Janet Cardiff we would like to least 1n the Western hemisphere, seems porary life. The intent of this exhibition is Carlos and Rosa de la Cruz: Marian thank George Miller who assisted in the lost. Nostalgia is barely held at bay. not to define a nevi movement, to stake Goodman Gallery, New York: Jay Gorney production of Carditrs work that was Disasters that might be projected into the out a dominant trend of contemporary art, Modern Art, New York: Jim Hodges and commissioned for this exhibition. next century seem for now beyond the or to attempt to make a roster of upcom­ CRG Gallery, New York: Charles Le Dray: Finally, I would like to express our doorstep, at least in our mass sensibility, ing stars for the late 1990s. The exhibition Thomas Lee and Ann Tenenbaum: Sharon great appreciation to the artists whose at least as we proceed from day to day. is, rather, an atterrpt to reflect upon our and Philip Linhares: Vicki and Kent work comprises this exhibition-Janet Even the AIDS crisis can be imagined to be moment, to understand better where our Logan: Eileen and Peter Norton: Howard Cardiff, Iran do Espirito Santo, Jim disappearing, suppressed and dropped culture and its art might be. Rachofsky: Andrea Rosen: Helen and Hodges, Charles LeDray. Gabriel Orozco, into the background. For now we are okay, The membrane of time is fragile. Charles Schwab: Kathryn Spence and Jennifer Pastor. Kathryn Spence, even though optimism, hope, and confi­ Memory is inevitably incomplete, dis­ Stephen Wirtz Gallery, San Francisco: Steve Wolfe, and Felix Gonzalez-Torres dence are tenuous at best. torting. Desire ma� confuse reality with Chara Schreyer: Peter and Mari Shaw: [1957-1996), who ir many ways served as For the first time in our century ide­ hope. Slippages occur between percep­ Allan Stone Gallery, New York: Whitney an 1nsp1rat1on for Present Tense. The ologies-visions of what would make a tion and experience. The language we use Museum of American Art, New York: evocative artwork of these nine artists better tomorrow-are not competing. to describe where we have been and what Hendel and Terry Winters: Steve Wolfe gives us a singula· and richly rewarding But neither is there any doubt that the we have done is not the same one we use . .. and Daniel Weinberg Contemporary Art, glimpse of the present moment in con­ . system is far from perfect. Utopia is as to describe where we want to be and San Francisco: Mary and Harold Zlot: and temporary art. distant now as it was in the past eras that what we want. and the recognition of this the lenders who wish to remain anony­ bred the competing visions of our pre­ may catch us off guard. mous. In tandem with this exhib1t1on, the Lori Fogarty sent. Without a clear ideology or a shared The artists in this exhibition evoke our Museum is presenting in the Haas Depu!JDirector for CuratorialAffairs cultural mission, however. it is difficult present through myriad choices in their way Atrium an add1t1onal work by Gabriel not to feel that it has been left to each of of working. Materials tend to be modest. Orozco-Habemus Vespum [1995-961- us, as individuals, to make sense of our They are often chosen for their associations and we would like to thank Yvonne Force lives, to hold our place in the world. At with ordinary experiences outside the and Carmen Zita of Yvonne Force, Inc., odds with the success of the capitalist refined arena of art. :Oven when large-scale, New York, for this loan and for their gen­ West in establishing itself so securely, works are nonmonumental. Intimacy is erous assistance in this endeavor. our individual psychology is marked by invited: care in the making of the object is The following individuals facilitated feelings of vulnerability. evident: often the touch of the hand 1s felt. the loan of the artworks featured in this The present is d1ff1cult to under­ While these artists avoid the overly dra­ exhibition and we are especially grateful stand or even to identify. As curators our matic and the sentimental, emotional life is for their efforts on our behalf: Marcantonio means of reflecting on the present is to embraced. Beauty, although not always Vilat;:a, Galeria Camargo Vila�a. Sao Paolo: look al art made by younger artists, those conventional, 1s sought and admired. The approach of these artists 1s d1s­ c1 pl1ned but not programmatic. The A Time Capsule d1stinct1on, specificity. and 1nd1v1duality of each work 1s carefully tended. These works are not about rhetorical posturing or 1deolog1cal pos1t1oning. They grow out of the physical qualities of mater als. the processes of making. a succession of choices influenced by what has come

1mmed1ately before. by evidence of the Bill Hayes possible.

The passage of time. the frailty and remain underground. untouched, for one vulnerability of existence. the tenuous­ Human beings have proved themselves hundred years. ness of equilibrium are expl1c1t subiects. brilliant at reconstructing the past and My mind buzzed with questions l defining the content of many of these nearly incapable of predicting the future. was too well behaved lo ask. How will works. But this does not result 1n a sense A1chaeologists, paleontologists, and anyone ever find it? Who'll remember the of despa1r, frustrat1on. or anger; the mood biographers are accorded the highest right spot lo dig it up? What will they is more affirmative. The transforma­ respect for their grave-diggings, while learn about us? And, most urgently, tion of the ordinary, the overlooked, the futurists-clairvoyants. astrologers. and who'll get to drink the century-old soda ignored confirms the resilience of the sci-fl v1s1onaries-are given the credence pop? I remember little else about the human spirit. Consciousness is not evaded of a fortune cookie. By now we are sup­ time capsule but t11s: the keep-me-up­ but celebrated, yielding pleasure. humor. posed to have floating cars and colonies at-night impatience I felt for it to be and delight. even a tentative and cond1- on Mars. not to mention a cure for AIDS. unburied. iust as soon as the missile t1onal hopefulness. aren't we? hatch was shut.

Today the social net has been left Of course. all mistakes are for­ Curiosity drove a boy to the brink of frayed. but the connections between per­ given. Our wild imag1n1ngs persist. I an ex1stent1al cr1i1S that would seem sonal and shared experience. between think this must be, n part, because we more h lanous now. twenty-eight years private and public space. have not been each believe we can have a hand in later, 1f 1ts impact were not still reverber­ abandoned by the artists in this exh1b1- shaping. even changing. the future 1ust ating. The Coke-bottle time capsule t1on Their work often proposes a shared by imagining it-a· feat that, by defini­ taught me an 1nc1s1ve lesson about mor­ continuum. a permeable membrane tion. the past resists. And by imagining tality that the catechism nuns never did between these arenas. As these artists how things might be, we are communi­ manage to clarify. The capsule's opening reveal something of themselves. they Cillrng with those who follow us. This date was just far eiough away to ensure entice us to ask ourselves about the val­ human effort to speak across the years that none of the original witnesses would ues that mark our lives and our time. We 1s terribly poignant. I suppose that's why be remaining No matter how I did the are not at ease n the present. but to see time capsules have always haunted and math. I knew that even an eight-year-old the present with more clarity may allow intrigued me. would not be alive in one hundred years us to acknowledge our contrad1ct1ons I witnessed my first time capsule Our elaborate surprise was meant for a and vulnerability and to affirm our exis­ burial when I was eight years old. lt took whole new world. tence more fully. place on the grounds of Fort Wright I ve since discovered that 1t was

College. a Catholic women's school in some uncelebrated genius at the

Spokane. the same summer as the first Westinghouse Corporation who dreamed

moon landing. As the only boy 1n our fam­ up this idea. The f rst lime capsule was

ily, I had the privilege of accompanying conceived as a promotional spectacle for my father, owner of the Inland Empire the 1939 New York World s Fair. It shared Coca-Cola Bottling Company, who had exhibition space in an elaborate, omega­

been invited to contribute At a precisely shaped building with the Singing Tower of

choreographed moment in the cere­ Light and the lair's star attraction, a giant

mony. he deposited a pristine Coke bottle performing robot named Elektro. Shaped.

into the mini faux missile, which was to without irony, like a torpedo. the sleek.

0 71/1-foot-long bombshell bore peaceful One day l simply pulled it from the snapped pencil points gave the f•fth years ago. The new protease inhibitor � traniformtd our lwts to support each other. greetings from "present-day America shelf. After everyone had left work. exclamation mark more urgency. Some drugs give us more life. yet more time to to the people of Earth o! 6939 Ao.· I carefully covered 11 with my 1acket. rambling messages completely filled the wait: these drugs may delay death but I'm lirtd, but 1 havt hope. Copper-bound. glass-lined. and n1trogen­ breezily said goodnight to the security page Others, drifting calmly. dead cen­ have not stopped HIV. As 1t happens, too, filled. designed to survive war or natural guard. and took 1t home. Some might say ter. were short and bittersweet the human race 1s at century·s edge. and 1 ltarntd how to S'!J'g'od-i?Jt. disaster. it was enshrined fifty feel under­ that what I did was immoral. 11 not ille­ I think we could fall either way: backward ground in a mysterious place called the g al -at once breaking faith with the What 11 rs to bt hapl?Jwill ntvtr bt tht samt. or forward 1n time, upon memory or "Good·bye. - Immortal Well. future and tampering with the past I did imagination. We are standing at the lip of In 1992. as a staff member or the San not care The truth 1s. I thought those 528 The whole experience was eerie: I the Immortal Well with no idea what's As I left. I felt for a moment the guilt Francisco AIDS Foundation. I r1nally got a anonymous messages might help me couldn't help feeling that I had unearthed going to happen next. This is what present and relief or someone allowed to walk chance to help create a time capsule for my p ece together m•1 own life. In the midst a chorus of voices speaking directly to tense 1s. away from his own country's battle. own community Across Civic Center plaza of both war and natural disaster I could me. I stopped and left the box on our Our lives here resemble pieces or crowds cheered marchers 11s they passed not wait fifty years to learn how people kitchen table. not bothering to secure 11 paper, with San Francisco as the time Look back in wonder. Prepare for the next beneath an eno1 rnous rainbow of helium like myself had survived. closed with fresh masking tape. Our time capsule 1n which we are contained. Left lime. Do not euer forget us. balloons spanning Market Street, yet the My boyfrienc. an indulgent accom capsule was awfully pathet1c-look1ng. It in darkness, simply exposed to the air. mood was somber w1lh1n our humid vinyl plice, cleared from the kitchen table the would never have survived recycling day, paper warps. turns brittle. AIDS dam· And of course. I did not walk away from tent. When I looked up from the table. I saw things I shoved out of the way. He offered much less the Armageddon. But I see ages us 1n the same way. Unlike obiects the battle, but only back into it. a steady flow of men waiting 1n a line that a pair of scissors. Without hesitation I now that its d sposable appearance was 1n the World's Fair time capsule-for· did not shorten until late in the day, when tore the box open with my hands White irrelevant. Beneath the 1ndestruct1ble, ever preserved in copper. glass, and Have hope. Have fait.�. the Gay/Lesbian Pride Parade ended and papers lay 1n a shimmering heap. hun­ whiz-bang trappings, 1he contents of the nitrogen-we will not be protected from the fog rolled in. They were wa1t1ng longer dreds upon hundreds of half-sheets. World's Fair time capsule were also the effects of illness, grief, and aging, Kttp itrugglingand fighting/oryo ur dreams. whatever the future brings. When the and more patiently in that line than they facedown. f11l1n9 the flimsy carton. I touchingly prosaic· newspapers, a news­ would to buy a bottle of beer. Single men. grabbed a handful and dropped them, reel lbut no newsreel projector!. and pandemic ends-when the hatch 1s couples. and groups of fnends-pumped­ right side up. 1n my lap. Words sputtered thousands of pages on m1crohlm The opened, the box unsealed. and the light up. sunburned. half-undressed-young from the first page in tangled cursive: text of everyday life-America, 1939- finally let in-what will people see 1n our men propped on canes and leather-daddies carefully set aside for future reading faces? How will they find us? What will in sweat-drenched chaps: all waiting to AIDS has changtd "!J lift fortvtr 11 JS hard The AIDS Time Capsule carried on we say? send a note to the future to think of that t1mt whtn AIDS will not bt this custom. one that s linked 1n my I did eventually repack the time They were asked to respond to two a big hole whtrt "!>friendswtrt. imagination much further back in his­ capsule, seal 1t with industrial strength questions on a single sheet of paper: tory-to the messages found embedded duct tape, and return t to storage at the How would your life be different without The next one was written 1n meticulously in temple foundations in ancient Babylon. AIDS Foundation, where it remains. the threat of AIDS? And. what message printed letters: In its purest conception a time capsule Leaving 1t behind. I'll never forget how would you send to people fifty years from need be no more complicated than words the quieter voices inside the box arose. now about your experiences during the Whenyou hear ab.)uta n epidemic or even on paper, items hand-sewn, or images We have managed to extract as much AlDS epidemic? a little mention of something strange on film: evidence of a life. saved. In fact, 11 good out of AIDS as possible, they I handed out pencils and blank happening, act immediate[». Don't wart need not be enshrined or burred under­ reminded me. sheets of paper and tossed completed for authorities. g round. but could be left 1n a scrapbook responses into a cardboard box at my or hung on a museum wall. It has helped us grow� giving us a stnst of feet At parade's end the box was packed. Another sheet was simply covered with Creating a time capsule requires our own mortaliry at ayounger age. taped shut. and unceremoniously left in a tiny, pencil-drawr tears. only the unshakable faith that the people storage closet at the office. among car­ of earth will con;rnue w11hout you, the Indeed, amid the hundreds of pieces tons and cartons of accounting receipts. Yeah, it's fucked. But I'm an apoca!JpH desire to invest an ob1ect with meaning: of paper, in the end l heard nothing more If a community"s faith in the future junkit. so it's inttrtstin_ghav ing no Juturt. and the belief that at leas1 one benevolent touching than the modest admissions of might be measured by the date set for a future being will find it. wishing simply strength and k1ndness-sent1ments as lime capsule's opening. then 1t had The handwroting often revealed as to know: what was your life like then? hokey, heartfelt. and prototypically lapsed considerably since 1939. when the much as the words themselves hurried As I write this. in 1997, I see our­ American as 11 they had come straight World's Fair version was sealed for five scrawls. nearly illegible, filled with child­ selves poised on a delicate threshold: a from 1939. In their whispered messages thousand years. We gave the AIDS Time like misspellings, words underlined, glimpse of hopefulness and progress 1n to people fifty years from now. I found Capsule JUSt fifty. "Do not open until once, twice, three times. until the paper the AIDS pandemic which we didn't env1- answers to my original question. How 2042." the box was labeled. tore; tiny graphite explosions where s1on when we made a time capsule five had people like myself survived? 0 Interior mental formations are place but home. and there's no place future tense. then black-and-white 1s the EvBrything is marB not so orderly. In fact, they often seem like home}. chromatic past tense. messy; they seem to contradict and evade In the story a tornado lilts Dorothy's When black-and-white 1s employed principles and vocabularies of contain­ house and carries her on a surrealistic 1n the aesthetic field lart. advertising. c::amplic::atBd than visiblB1 ment. Thoughts. recollections. dreams, 1ourney through the sky. When the house personal and collective archiving). its and fantasies commonly involve psychic lands. "Dorothy emerges from her bed­ system of tones alludes to h1story-h1story

activities such as scanning across time room with Toto in her arms. We have as memory but also history as document. and events in histories; blending of reached the moment of color. The first Black-and-white modes of reproduction symbols and stories; and [mis)idenll­ color shot, in which Dorothy walks away can trigger emotions and conceptions

f1cat1ons-people and obiects standing from the camera towards the front door about the past which stand in for, even Julie Ault in for other people and other objects of the house. 1s deliberately dull. an prevent. recollection processes. destina­ Confusing recollections. grafting 1nfor­ attempt to match the preceding mono­ tion nostalgia. What then becomes of the

The dedicntion thnt prefaces Toni Momson·s borderline n. I. a vague or 11 defin itt lint mat1on. and interpenelrallng associations chrome. But once the door 1s open. color relation between memory and history? 1 6 stunning novel Sula reads: "It is sheer between two differe nt cond1tio11s. 4 or ideas attest to the fact that our subtle floods the screen." Oz-the city, the adult "In place of certainty, I want to propose good fortune to miss somebody long mental and emotional movements can inhabited world or home-at-large, is col­ both memory and history, for today each before they leave you. This book is for Ford Antes y despuis, before and alter. Long after not accurately be assigned a stable nar­ orful. v1v1d, full of life. and endlessly informs the other with an ease of substi­ and Slnde, whom I miss although they he died. I spoke of him in the present tense: rative or trajectory. Nor 1s 1t precise to multiplying poss1bilit1es. Color here might tution that 1s distinctly not modern, have not left me."2 The sentiment that he is. he does, rather than he was. he did. say that these movements speak from or symbolize the 1ncreas1ng variety to be neither separate nor unified, but equal. "7 these words evoke struck me as remark­ The awkwardness of hearing myself strug­ to a single tense. Language acts bluntly. achieved w1th1n industrial society and ably mature. I 1mag1ned that Momson·s gle with language to describe someone How then to reconcile one·s private feel­ consumer culture. In the new home-at­ Preeminent Hollywood m1xmaster of doc­ view was rooted in emotional liberation. who no longer breathes. yet . .-coupled ings. processes. and experiences with la rge people are connected through umentary and l1ct1on Oliver Stone favors arrived at via a uniquely shaped configu­ wrth the palpable discomfort such slip­ outward forms of expression? electronic media. which is "in living color. - optical processes and devices commonly ration of pain and accumulated losses. pages elicited in others-caused me to used in television [i.e .• advertising and Her words also sparked an internal dis­ think about the borders and d1stinct1ons How 1s tense expressed in other lan­ Within the last hall century the two MTV) and art,such as montage, alternat­ turbance. It's a line line, treating someone between present, future, and past. guages or in visual terms. for instance, modes of photographic reproduct1on­ ing chromatic systems. rear-screen as though they're there. which they are, Language: what seems so sure and chromatically? black-and-wh1te and color-have traded proiection. and varying film speeds. In while simultaneously glimpsing potential intact a system of representation once In the 1930s color film was new and places in terms of which is pervasive and 1991 Warner Bros. released the director's

Ftlrr Gon<_a/es-Torres special It provided a glimpse of what was standard. dramatically altering and com­ heavily promoted epic JFK. The fast­ timt n. I.a. A nonspatial continuum in which events occur in apparentfy Untitled, 1991 to come Excitement over technological plicat1ng relations to history and enter­ paced film consists of alternating and Elaine Danherser Collect1on advancement and notions of progress tainment within our visual environment. segments of black-and-while historical irreversible succession. b. An interval separating two points on this continuum; The Werner glowed 1n the collective 1maginat1on. The reasons for this exchange are trace­ footage, documentary-style re-creations

duration. c. A number, as of years, dqys, or minutes, representing such an Color film technology promised a possi­ able lo economic. technological. and of the same footage. and color sequences,

interval. d. A similar number representing a specific point, as the present, ble fusion of representation and reality manufacturing developments as well as which together compose a skillfully that black-and-white by definition could to people's desires and expectations for crafted "f1ct1onal1zed documentary." as reckoned from an arbitrary past point. e. A rystem lry which such intervals never provide. the arenas of representation and leisure. The film attempts to explain what 1s to are measured or such numbers reckoned. 3 Perhaps the most popular and

widely known cinematic enactment of the The truth is the most important value we have because if the truth does not endure if again disassembles in practice. new , and probable futures-holding two [or A symbolic shift from black-and-white the Government murders truth, ify ou cannot respect the hearts of these people, then more) tenses in mind. tense 1s needed, one that describes to color occurs in the 1939 classic The 8 I tried to appropriate Morrison's the in-between of pasts, presents. and Wizard of Oz. In the film's early sequences this is no longer the country in which we were born... maturity as well ;isher good fortune and futures, one that refers to all and not Dorothy is depicted in her home and sur­ -Jim Garrison. J>l9td� Ktvin Coslnrr inJFt.. gave him a copy of her book. He was sick quite any as clear-cut or unperforated roundings in Kansas. These scenes are at the time, the dreaded late coming The common demarcations we employ to shot 1n black-and-white. what Salman While the selection of black-and­ many the still-unexplained 1963 assass1- closer. I wanted him to read the dedica­ aid understandings and articulations of Rushdie calls a "mult1plic1ty of shades of wh1te or color was usually economically nat1on of President Kennedy and 1s based tion as though 11 were me saying those time are certainly useful, as are cate­ gray.·s Kansas-the home of origin and determined in former times. it is now on the conspiracy theories of New words to him. The good fortune lies in not gories, disciplines and labels. Systems ch ldhood, the one we can·t return to-1s largely a choice cultural producers Orleans District Attorney Jim Garrison taking someone's presence for granted. of measure and categorization undeni­ monochromatic and has little to offer; it make: it is a device, a manipulation and others, as well as the f1nd.ngs of a It is good fortune to know the power ably make the world, and life. more 1s without options. The tones of sadness intended to el·cit -and reproduce certain private investigator hired by Stone and frag·l1ty of our connections to one graspable. Such systems engender com­ inherent in this monochromatic render­ meanings If color expresses present­ For many. JFK [the man. not the another. prehension, but this leg1 b1lity has a cost. ing are tones of yearning [i.e.. there's no ness and. less emphatically perhaps. moviel is an American cultural icon who () evokes gentler. less cynical times and best picture in 1993. in which Steven a group of men and women walk from a comprehend the information contained What's at stake in all this? Access to 1950s notions of nation and home. His Spielberg claimed his [and America's) rep­ horizon line toward the camera, still in within black-and-white depiction is dimin­ experiences. our own and others': any murder remains a landmark of U.S. his­ resentational territory in relation to the black-and-white. The sequence slowly ished. It's a formal thing. Vision gets and all articulations of history [specific tory. marking a turning point when many Holocaust. Upon his initial encounter with shifts into color. and the caption "The shadowy and indistinct as what we see conditions. as well as more abstract con­ .. Americans first questioned the govern­ Thomas Keneally's "nonfiction novel . Schindler Jews today" appears on-screen. becomes intertwined with personal and ceptions of processes of events in time!; ment's version of events. For Stone the which chronicles German industrialist Color indicates that we are out of the past collective latent material. as memories and illumination of those arenas where assassination coincided with his parents' Oskar Schindler's complex relations with and now witnessing the present and. by and desires seep into the mix. memory and perception-the makers' divorce. which "Left me feeling that there the Nazi government and with the Jewish implication. future tense. As with the Spielberg and Stone inhabit the and the viewers'-both direct and act in was a mask on everything, a hidden neg­ people he helped, Spielberg commented. chromatic turning point in The Wizard heavy-handed. manipulative extreme of the production of culture. ative truth." The film seems to represent "It'll make a helluva story. is it true?"11 of Oz. this cinematic moment is a crys­ the spectrum-more intent on authorita­ his attempt to unmask the truth "I With Spielberg casting himself as talline example of visual tense wielded tively writing history than on anything believe the Warren Commission Report is pseudo-reporter. the movie, a dramati­ bluntly to bear an ideological message­ else. In Gonzalez-Torres's work, by con­ Notes a great myth. And in order to fight a myth, zation with characters played by actors, in this case. that the horrors of the past trast, internal processes are articulated, maybe you have to create another one. a was shot in "gritty" black-and-white. sug­ remain there. locked in black-and-white. and memory and conceptions of history c. Tomato, Prottu: A Tomato Project (London: countermyth."9 gesting historical "fact" through deploy­ We've awakened from the bad dream. are activated rather than claimed The Thames and Hudson. 1996), unpaginated.

What is significant here is how Stone ment of documentary "style." This film Ultimately this history lesson seems pro­ point here is not to take issue with partic­ 2. Toni Morrison. Sulo (New Yori" New proceeded to make a credible counter- wants to be mistaken for a documentary. foundly antihistorical. ular versions of history [i.e .. JFK) but to American Library. 1973).

attempt an understanding of what gets 3. American Heritage Dictionary (New York:

Untitled[1991]. Somewhat parallel to Toni excluded by virtue of the way content is Bantam Doubleday Dell, 1992), 709. Memory. It is unstable, fragile, and problematiz:,ed. At present, it is not a matter of Morrison's dedication. 1n which she communicated, of how those methods 4. Ibid., 81.

whether or not one is capable of remembering, but of what is remembered and its imagined the eventual departure of loved not only alter content but are content. 5. Salman Rushdie, Tht Wi{ard of0{ (London:

ones. Felix Gonzalez-Torres's black-and­ BF! Publishing, 1992), 16. relation to what is remembered, or to its "reali!J. "History. it is no longer constituted wh i te billboard image of an empty The techniques, processes, and indus­ 6. Ibid., 30.

l!J the facts but l!Jjust so ma'!)' memories, informed not l!J events but l!J their repre­ bed [ill. p. 10)-his empty bed-imagines a tries by which memory and history are 7. William Olander, "Fragments," in Tht Art

10 convergence of tenses. Gonzalez-Torres apprehended. articulated. and distrib­ ofMtmory, the Loss ofHutory (New York: New sentations. it is as elusive as a'!)'thing else in todqy's socie!J. made this piece in recollection of the uted send us off in variegated emotional Museum of Contemporary Art, 1986). 7.

death of his lover Ross Laycock from and social directions. Artistic approaches. 8.James Riordan, Ston., The Controvtrsies, myth. how the techniques he deployed The relevant footage one might associate AIDS-related causes. as a documentary methods, and tools applied in describing Excesses, and Exploits ofa Radical Filmmaker are effective in mythmaking and truth it with is that indelible footage of what record of his then-present !getting out of events in time effectively function as aes­ (New York: Hyperion, 1995), 351. telling and produce confusion between happened in the concentration camps. bed in the morning). and as a forecast of thetic ideologies. On'ehazard in this system 9· Ibid., 352, 355· the two through their conflation. In the Spielberg shot on location at the very his own future-a time when he also lies in reductive selection and packaging 10. Olander, "Fragments, " 7. case of JFK, documentary and dramatics sites of historical events-in the streets of would be gone. when the symbolic, real, of information. which. by design. excludes II. Joseph McBride. Sttvtn Spielberg: A are integrated. Documentary footage of Krakow. at the gates of Auschwitz. About and imagined bed would remain empty. conflict and interconnection of ideas akin Biography (New York: Simon and Schuster, actual events. nested in "stories" that are 40 percent of the film was photographed Like a door. this work opens into the to mental processes and formations that i997), 424. not necessarily histories, is trans­ with handheld cameras. The film's cine­ artist's most private spaces. In the are ordered differently, which is not to 12. Ibid., 431-32. formed into "truth" and "fact"-what matographer approached the project viewer a second door opens onto myriad say disordered. i3. Henri Bergson, Matter and Memory, seems to be history. at least temporarily. "as if I had to photograph it fifty years associations of ideas. sensations. and "Within this process of filtering, for­ trans. N. M. Paul and W. S. Palmer (New

To further effect authenticity. Stone "re­ ago, with no lights. no dolly, no tripod ... experiences. matting and packaging, the past is being York: Zone Books, 1988), 54. created" the assassination from differ­ cut into little bits and pieces and then mixed 14. . Martin Beck, "Pop, Inc." (unpublished ent vantage points at the Dallas location But alreac!Ji we mqyspeak of the boc!Ji as an ever advancing boundary between together into a contemporary sample. lecture, 1996): quoted by permission of the where it took place. supposed to represent a whole. But these author. the future and the past, as a pointed end, which our past is continualJy driving samples are always only segments. and The aroma of authenticity and its simula­ forward into our future. '3 are sometimes isolated from their underly­ tion support cred1b1lity.Although 1t seems ing and constitutive historical processes. evident that documents. photographic It was simply more real to have certain Whether encountering Gonzalez­ sometimes even stripped bare of their and otherwise. are falsifiable [now more imperfections in the camera movement. Torres·s billboard amid s1gnage and other anchors, insulated from their formative than ever). what looks to be true has an or soft images. All those elements add urban surroundings. looking through a context. ...What easily gets lost in this for­ impact and can affect deeply. to the emotional side of the movie. "12 family photo album. or watching a well­ matting enterpnse 1s an understanding of Consider. for instance, Schindler's When the black-and-white story crafted cinematic reenactment of a "the past" as a pol1t1cal terrain in front of List. winner of the Academy Award for comes to an end. a second ending ensues: historical event. one's ability to clearly which our present is negotiated. "14 Plates

u:rth tuts1!J Carrels, Elm S. Haas - k'"""'�Curator and Curator of· �� "l Painting and Sculpturt t -=(! Janet Bishop. Andrew W. • � Mellon Foundation Associate � -=Cf Curator of Painting and f)=. � Sculpture • � John S. Weber, Leanne and i:: � George Roberts Curator of f)=. -(fEducation and Public Programs � ��·�··�·.-� Janet Cardiff Unt1tltcl, 1997 human ears. When played using head­ intermittently directing and then C/.T. NO. 1 Janet Cardifrs work of the 1990s has phones, these recordings have an dislocating it. taken a variety of forms-encompassing uncanny effect; sound recorded by Like the camera and the video installations utilizing photography, Cardiffon-site blends with 1 ive am bi camcorder Cardiffalso employs. the film, video, and sculptural compo­ ent sound, creating a dislocating uncer­ audio recorder seems to capture the nents-but its distinctive element has tainty concerning what is recorded world exactly, with a degree of been her perceptually engrossing, psy­ "fiction" and what is "reality." verisimilitude that mimics "natural" chologically riveting use of recorded To experience Cardifrs work is perception. But all three technolo­ sound and speech. In the past few to invite the artist's voice into one's gies preserve slices of an unrecov years she has moved out of the gallery head in a way that is eerie and i ntox­ erable past and thereby inevitably altogether, making site-specific ic ating. She generally speaks in a evoke absence as well as presence.

"walks." For these pieces, individual distinctly private but neutral tone­ Noting that "it felt like I came home audience members don a stereo cas- far removed from the voices used m when I started working with audio," sette player and are guided by the pu blic . At other times an intimate, Cardiff says that her work concerns a artist's mesmerizing voice along a almost confessional, erotic, or con­ dialogue between inside and outside, predetermined path. Her spoken spiratorial tone fosters the impres­ between the mind and the external and whispered words are intercut sion that Cardiff has mistaken the realities it perceives, between the with bits of ambient sound; snippets listener for someone else and is gallery and the exterior world, and of audio apparently sampled from revealing things that he or she may between individuals. Through mem

TV, genre films, or radio melodra­ not be intended to hear, lending a ory, sound, and the layering of mas; and observa tions or questions voyeuristic quality to certain pas­ perceptions, she seeks to transport whispered by an unidentified man. sages. Her narration alternate; vision beyond the limits of the eye,

The result is an audio collage that between real-time observations and "triggering the effect ofan entire borrows from sources such as film memories and other ruminations movie with just a few words." 1 -}. W.

noir, avant-garde cinema, modernist with a dreamlike fluidity. Fragments fiction, and radio plays but which of stories and natural sounds func­ ultimately fits into no accepted cate­ tion like audio snapshots, montaged J. Convmation with tht author, M19 1997. gory of art making. together in a stream-of-conscious­

Cardiff employs a binaural ness narrative that creates intensely

recording technique in which micro­ specific, yetopen-ended, impres­ phones are placed simultaneously on sions. The visible and invisible, each side of the head, picking up present and past are evoked aurally. stereophonic sound with the full heighten ing the intensity of the three-dimensionality perceived by viewer's actual visual experience by MM.£.i!!tU.MUi Iran do Espirito Santo J; Back �\'a///Re.t, 1996 t- v,.,,, 0/ 1996 msta//ation at the i;:- Rodolph Street Gallery. Chicago � '"''"t

cladding of brick-not structural, but here and now of a place, into which Iran do Espirito Santo makes wall decorative-evoking the solidity and we are introduced as actors, anima- drawings that allude to the three­ history of a traditional building tors of a silent tableau. In his

dimensional space of architecture, rather than making apparent the installation at SFM 0 MA the artist transformed into flat planes, like underlying steel structure. accentuated the ambiguities of ori­ artificialshadows, retinal after­ Espirito Santo sets up a dialogue entation and illusion by propping images, or disembodied memories. about what we see and how we under­ against the gallery walls planes of His sculptures likewise are per­ stand what we see. The divisions glass whose surfaces are sanded, ceived more as pictures of things between exterior and interior, fa�ade mirrored, and left transparent in than as solid objects. In all of his and support, illusion and reality are different geometric combinations

work, experience is inextricably brought into focus, a continuum (cAT. NOS. 5-6). These objects become linked to self-conscious processes extended from physical materials to displaced windows, not functional, of perception, the connection of the construction of the mind. Our but optical and metaphorical. In one

the eye and the mind seamlessly sense of self-awareness is enhanced, room he placed a small, lamplike sealed but made evident. making us more receptive to the sculpture made of stainless steel

For Espirito Santo's installation heightened vividness of the present. (cAT. NO. 2). Its physicality dissolves;

for Present Te nse, two corners of the At the same time the artist reveals the spaces around it are reflected monumental fifth-floor gallery at that a sense of identity is made up but absorbed; it does not emit light

SFM 0 MA were divided from the main of a layered synthesis of experience but rather reflects it. space and turned into more domesti­ and memories, nostalgia and the While Espirito Santo's work is cally scaled rooms, one step toward assumed certainties of a sifted past conceptual and analytical, it is also the privacy and intimacy of personal confronted by the perplexities of playful, undermining strict logic. experience, but still a public arena. the present. The physicality and particularity of a The artist painted sections of the Espirito Santo is also playing place and a point of view, the insta­ walls with patterns of bricks in dif­ with the idea of the "vanishing point," bility and specificity of experience, ferent shades of gray (CAT. NO. 3), the convention of Renaissance are brought forward. The procedures echoing and fragmenting the exte­ painting by which three-dimensional of vision are made visible; our rior walls of the museum, which can space could be depicted on the two­ reliance on patterns of relations and

be seen beyond the end of each dimensional surface of a painting. memories is revealed. We are left room, through an immense win­ One of the key developments of with a heightened but frail sense of dow, a transparent membrane twentieth-century art has been the consciousness, celebrated but between interior and exterior. rejection and subversion of this vulnerable. -G. G. With focused observation, the out­ Renaissance illusionism. Espirito side walls can be recognized as a Santo brings this illusionism into the Gonzalez-Torres creates a sensory which sometimes comes loo soon, as

In the decade or so of Felix situation that transcends the visual as part of the cycle of nature. Unlike the

Con7alez-Torres's mature career, he offers the viewer a representation spills and stacks, these works are not the artisl created a number of of another's body. ITis circulatory subject to the threat of disappearance. focused bodies of work, going "back work is to some extent "about fear, As objects that hang on the gallery and forth between different strate­ about learning to let go. You know, wall, they have, as the artist has said, gies, " 1 as he described it, using you have a show and everyone's walk "staying power." Yet their imagery extraordinarily poetic means to ing out of the show with your work. suggests not only the expansiveness address not only the intimate and And it's kind of painful, but at the of time but also the very fleeting personal but the public and political same time it was a rehearsal for me, nature of the moment. -J. B. as well. learning to let go."

�uch of Conzalez-Torres's work Among the other works in the is character11ed by its egalitarianism. exhibition is one ofthe artist's extra- I. All quoits art from "Untitltd (a ta/Ir). " a ltclurt

Like his paper stack pieces. which ordinarily simple, yet elegant strings gwtn � Ft l1r Go�alt.t-Torrts al tht San Francisco consist of limitless offset prints to of lights-a strand of illuminated Mustum oJ Modtrn Art, 23 March 1995. which anyone is welcome, the works white bulbs which can be installed in known as "candy spills" have an ideal any configuration desired (CAT. NO. 7).

�ize for the purposes of exhibition Gonzalez-Torres made the pieces and are endlessly replenishable, as because, as he said, "I needed light viewers are invited to take and eat a at that time. I needed optimism." piece of the wrapped candy. The His repeated allention to imagery of candy pieces in the present exhibi­ birds also reflects a sense of hopeful tion (cAT. t

(Portrait of Ross in L.A.) (1991) is a who came of age in the era of AIDS spirited pile of brightly colored and lost his companion to related candies called Fruit Flashers. Made causes five years before succumbing for the artist's longtime lover, Ross lo the disease himself, this soaring

Laycock, the piece encourages delec­ sense of endless possibility is cou tatio n-10 behold, to taste, to savor. pied with the inevitability of death, Multiple metaphors are evoked; it is self-contained objects, they shift in a membrane and a memorial, tether- our perception and imagination ing life and death in epic sweep. between transparency and reflective­ In the same gallery are two works ness. We are invited to bring our Jim Hodges of human scale. One is a grouping of personal experience into a dialogue No Betweens, 1996 CAT. NO. 12 spider-web-like forms made from with them. Optically we are teased .;;(f � thin silver chains (cAT. NO. 11). They and delighted, but these pleasures do not replicate nature but are are not to be completely trusted. It woven from impressions and mem­ is nevertheless apparent that a great �1'1'nt ories, an elaborate artifice, alluring deal of time, care, and craft went into and seductive. If touched and dis­ the making of these works, and this The central work by Jim Hodges in turbed, they would collapse, for they imparts a seriousness, a gravity of this exhibition is an enormous scrim are suspended and shaped by only the purpose, which holds our attention.

titledNoBetweens (1996; CAT. NO. 12), most fragile support. Nearby is a Hodges' s work evokes a sense of composed of petals and leaves of silk pair of fractured mirrors mounted yearning and loss, of love and mem­

flowers, sewn together end to end, on canvas (cAT. NO. 13), theirweblike ory. As the work of a gay man living floating across the room, cascading tendrils disrupting the smooth sur­ in New Yo rk in the 1990s, it almost from the ceiling beam to the floor. face of illusion. These mirrors evoke inevitably resonates with the devas­ The piece was made over the dura­ the transformation of Narcissus, the tation of the AIDS crisis, of too tion of a summer by Hodges, who mythological figure transfixedby his many friends and lovers who have worked with family members and own reflection, turned into a died. While Hodges's art gains friends, taking apart artificial flower by the gods, deprived of strength from its formal and flowers, ironing and flattening the human life but renewed each spring. abstract complexity, it is grounded

petals, pinning them together, and Both of these works are shiny lures, in experiences and emotions that

finally securing them side by side fragile but threatening. Here human mark our time.-G. G. with needle and thread. The result­ character is poignantly evident: the ing scrim is thirty feet long and vanity, hubris, and frailty that lead twenty-seven feet wide, with a spec­ us to set traps for ourselves. trum of saturated colors at the top, All of Hodges's works are made gradually shifting to nearly white at from humble, mundane materials,

the bottom. Sumptuously and transformed and elevated in value unabashedly beautiful, it is monu­ and meaning. They convey romantic mental in scale, but its presence is longing, precarious beauty, the tran­ diaphanous, fragile, and delicate. sience of existence. Not stable, �&M�� � lt Charles LeDray t -;(j� Come Togtthtr, 1995-96 • touching, almost bittersweet nostalgia for three years, is a subtly remark­ CAT. NO. 16 � Since his firstsolo exhibition in New for the era of the artist's childhood. able piece consisting of a large

York in 1991, Charles LeDray has In Step Ladder (1997; CAT. NO. 17) vitrine filledwith two thousand tiny fashioned a remarkable range of psy­ LeDray depicts a wooden utility lad­ white porcelain vessels. A viewer's chologically loaded sculptures, der precisely carved in miniature. initial impression of sameness is �"""� frequently conceived in miniature Although it appears to be of ivory, quickly contradicted by the observa­

scale and all handcrafted by the artist Step Ladder is carved from human tion that each little piece, handmade himself with an immaculate degree bone. When this is taken into account, by the artist, is unique. Although

of fmish and perfection . it loses its aura of domesticity and empty, these vessels are filledwith LeDray learned to sew as a child, becomes a memento mori for the the care and consideration that and his earliest mature works take the common man-delicate, tender, and LeDray has lavished on them, and form of stuffed animals and tiny achingly somber. LeDray describes the combined effect of their milky, clothes, carefully sewn and pieced Step Ladder as "an attempt to illus­ monochromatic plenitude is austere together to form allegorical compo­ trate that afterlife is what we leave and breathtaking. -]. W.

sitions. Come Toge ther (1995-96; CAT. behind. " '

NO. 16) demonstrates the fragility, As a young man in Seattle, delicacy, and psychological drama of LeDray assembled a large collection 1. Charles LeDrqy, in a commenlo!)' on an ear!J this work. Above a small, brightly of memorabilia from the i962 Seattle draft of this text, June 1997· embroidered work shirt, an arc of Wo rld's Fair, and in a wry display of

tiny clothes "comes together" in a fictionalizedso uvenirs titled Civic

rainbow celebration of apparent Center (1995-96; CAT. NO. 15), he unity. On the work shirt itself, revisits the mood of civic optimism LeDray has embroidered an array of prevalent at such events. Handcrafted smiling lips, a peace sign, a melting and placed on pedestals, his "Century ice cream cone, explosions of flowers, 21" cigars, ashtray, cigar cutter, and other images that create a na'ive, spittoon, and Space Needle cigar almost goofy recollection of the hip­ lighter form an ironic corporate

pie dreams of the r96os. In contrast, promotional campaign. Pitched to the clothes stretching over the shirt appeal to the desires of an imagined display a distinctly humdrum every­ Cold War patriarch, it comes com­ dayness that bespeaks the distance plete with gender-based symbols separating Middle America from the and phallocentricities.

utopian hopes of the counterculture. Milk and Honey (1994-96; CAT.

Together the mixture betrays a NO. 14), on which LeDray worked Gabriel Orozco Rtcaptuml\atun mu1>

alludes to cultures on the margin of rephotographing the altered image.

In both his sculptures and his pho­ industrial society, for example, the Scale, place, and identity are ren­ tographs Gabriel Orozco works with poor neighborhoods and towns of dered ambiguous, motion caught ordinary objects and found materials Mexico, where rubber from tires is and stilled. In the photograph that have been altered and trans- routinely reused and patched together Autumn Umbrella (1993; CAT. NO. 20), formed to provoke a reconsideration by hand to serve new functions. the artist rearranged the spokes of a of everyday experience. Issues of bal­ Much of Orozco's work deals broken umbrella found on a Paris ance and equilibrium, the tenuous­ with public space and the recognition street and scattered leaves around ness and fragility of existence, and the of public values and conventions. them, making an altered still life of fleeting and evanescent nature of The sculpture Four Bigcles (There I� absence, which suggests a stranded time are given poeuc, metaphorical Alwgys One Direction) (1994; CAT. so. 23) is rain-forest insect.A delicate sense presence in his work. composed of four bicycles, stripped of humor and formal beauty inform

Orozco was born and raised in of handlebars and seats, precari­ both Orozco's sculptures and his

Mexico and studied art in Mexico ously balanced in a tower, a transitory photographs, inviting the viewer to

City before moving to Madrid in the monument to the public life of the consider the conundrums he has mid 1980s. His art is grounded in street and to the fragility of eco created through his ambiguities of the work of Marcel Duchamp and the logical balance. Habemus Ve spam image and materials and his explo

Parisian Surrealists, which has been a (We Have a Vespa) (1995-96; on view rations of physicality and displace­ strong current of influence through­ in the atrium of SFMOMA) is, by ment, frozen memory and passing out Latin America for decades. At contrast, a monument, carved in time. -G. C. the same time the Mexican experi­ stone, to the ubiquitous scooter ence frequently infuses Orozco's used in Italian cities, parked in any work with an earthy humbleness and available niche ofpublicspace. In connection to nature and landscape. this work it becomes a permanent

Recaptured Nature (Natura/t{a recuperada) memorial, a bit of street furniture,

(1990; CAT. NO. 18) is a large, seed­ a marker of place, which takes on a pod-like sphere carefully constructed patina echoing the touch of thou­ from the inner tube of a truck tire. sands of hands and bodies passing

The industrially processed rubber is by it over time. taken back to nature, to a primor­ For Migration (1993; CAT. NO. 21), dial origin. Fi lied with air, the Orozco took a picture from aNational sculpture is by intention unstable, its Geographic magazine of cranes flying form and existence dependent on over a sandbar, overlaying each bird the environment. This work also with a small ball of plasticine and AM£, J � l ThtJenniferFour Stosons, Pastor 1994-96 i)=-tl=- . CAT. NOS. 25-'28 � � �""'"t like the product of an ordinary farm leaving the white gallery wall cool, Jennifer Pastor's cycle of the four than the prixe-winning stalk at the snowbound, and integral to the seasons is as unabashedly beautiful county fair or something from a dream. landscape scene. as it is unsettling. Fabricated with Pastor's representations of The Four Seasons resonates with extraordinary care, the sculptural spring and summer are also physi­ notions of the passage of time, appar­ elements are uncanny in both their cally disorienting. The exquisitely ent in both the obsessiveness and realism and their artifice, a distinc­ rendered moth of The Four Seasons: the painstaking labor that went into

tion not necessarily easy to discern. Spring (1994-96; CAT. No. 26) is making the works and the metaphor­ The possibilities ofthe work expand microscopic in relationship to the ical nature of their subject. Taking through the relationship of the indi­ other seasons, but surprisingly large elements from different landscapes­ vidual seasons to one another and when viewed up close. An interpre­ the beach, the forest, the mountains, to space, thus making notions of tive hybrid of selected fe atures (both and the plains-and presenting each presentation as significant as those male and female), it seems both life­ at the peak of its season, Pastor creates of representation. like in its detail and far too exotic to a situation of simultaneity that can­ JohnJames Audubon's Birds of be familiar to anyone but an ento­ not exist in the real world, neither in America was one of many sources of mologist. Mounted flush against the time nor in place. The gallery space, inspiration for the piece, particu­ gallery wall, it appears to have just however, offers physical brackets for larly for The Four Seasons: Fall flown in from the rain forest. In The this distillation of perfect specimens

(1994-96; CAT. N0.25). "This project Four Seasons: Summer (1994-96; at perfect moments, inviting the

was really influenced by one print CAT. NO. 27), an imaginary beach viewer to determine his or her own of crows on corn, which looks a little see�s to have been washed away from place among these at once familiar like a rape scene because the corn is underneath the fiberglassseashells. and otherworldly forms.-]. B. ...in various stages of undress in The Four Seasons: Wi nter (1994-96;

the husks ....And the corn silks are CAT. NO. 28) consists oftwo groves of

incredibly sensual, and being ripped trees cantilevered from the gallery 1. Jennifer Pastor, in dialogue with Susan Kandel,

apart." 1 Brimmingwith fertility, the wall. Too small to be mistaken for Index J, no. 3 (June 1996), p. 28. copper stalks, painted a brilliant real evergreens, the perfect, snow­ green, bear intensely yellow, hyper­ capped trees seem mo1·e like products real cobs, each individualized with a from a Christmas wholesaler, which superabundance of kernels. Pastor's could just as easily have ended up in cluster of cornstalks is not so far a holiday window display. More from life scale, yet in a gallery setting important than the source for the it appears more exaggerated given its piece, however, is the way in which extra girth and relative height, less the trees function sculpturally, something small, either in physical a record of accumulation, but in this Kathryn Spence's work directly character or perceived importance. case not of something material, but addresses the relationship between The photographs blur the distinction of thoughts and words. The Bible our emotional and physical comfort, between art and documentation as itself was clearly read voraciously between our psyches and our stuff. they re-present artwork in a format by its original owner, who supple­ For the past several years the San that is not only larger but also much mented the printed text with Francisco-based artist has made work more costly to produce than the extensive personal notes inscribed in that has entailed piling, layering, and original, thus calling attention to different colored inks between lines the transformation of previously what we value, both in the art world and in the margins. In carefully used objects through accumulation. and beyond. removing the pages, then folding and

Spence stacks tiny clothes into metic­ Spence's mud animals (cAT. NOS. gluing them into bags, Spence hon­ ulously sorted piles of laundry, for 35-38) have ordinary stuffed toys at ors the process of the Bible's original instance, and dresses dolls to look their core, their original excessive owner, acknowledging his "labor, like rabbits, then adorns them with cuteness concealed by the wet earth energy, and faith" as she has said, so many layers of clothing that they applied to their surfaces. Though "that faith being more important take on an almost absurd physical they usually retain something of than if the faith makes any sense formwhile, at the same time, embody­ their shape, these animals are far ornot."1-j.B. ing something of the vulnerability of removed from the cuddly, plush homeless people who carry their creatures that are widely associated belongings on their backs. with the comforts of childhood; the l. Conversation with the author, ll}une 1997· Spence often documents the dogs, bears, or, more recently, less sculptural objects that she makes with identifiable creatures become large-scale color photographs, such instead fragile human surrogates that as Untitled (red car) (1994; CAT. No. 29), seem to seek the protection of a shell, an image of a matchbox-size car which only makes them more physi­ stuffed and piled with bits and scraps cally and psychologically vulner­ of garbage. By presenting what might able. With their eyes still exposed, be a pitiable vehicle for a migrant the animals appear to be hiding family of dolls many times larger than from both themselves and the world. the original, the artist is able to direct Somewhat apart from Spence's the way the viewer perceives the object. other work is the series of small, lunch­ One is forced to confront what might size bags made from the leaves of a otherwise be overlooked or dismissed, heavily annotated Bible found by the to reconsider the significance of artist (cAT. NO. 31). The bags also offer Steve Wolfe Unt1tltd (Ror, i� utt Cl1Cquotl Fortrtu Applt Carton1), 1994-96

puts into his work an important part hardbound book Wolfe ever owned,

At firstglance a viewer might easily of its character, 1 and the obsessive TheBeatles, anchoring a portrait that mistake Steve Wo lfe's Untitled (Important p recisio n with which each piece is is specificto the artist but also sug­

Information Inside) (1995-96; CAT. fa bricated is not an end in itself, but gestively open-ended. Individual book

NO. 45) for a book incongruously a reflection of his genuine affection pieces such as Untrtled (The Collected attached to the gallery wall. It appears for the objects he portrays. Poems of Frank 0 'Hara) (1993 94; CAT. to be a well-worn study of the art of the Wo lfe's most complex pieces take N0.43) bear witneb� to other enthusi­ nineteenth-century trompe l'oeil the form of boxes filledwith books. asms. One of\Volfe's most humorous painter John F. Peto . The cover Untitled (Ro�/Veuve Cliquot/ Fortress works is a three book piece, Untitled image is a detail from one of Peto 's Applt Cartons) (1994-96: CAT. i.;o. 44) (Unread Books #J) (1990; CAT. so. 39), meticulously exact paintings. dis­ includes an anthology of George which includesjamesjoyce's U!Jsses, playing a candle, an inkwell, a quill Herriman's "Krazy Kat" cartoons, Herman Melville's Moby Dick, and pen, and three rather battered books. a series of dialogues with Marcel Gertrude Stein's Tht Mahngof Americans.

Yet a careful examination of\Volfe's Duchamp, and Raymond Carver's Ta ken together, Wolfe'b works work reveals that what appears to be a What We Ta lk About When We Ta lk About function as an oddly affecting com­ book is, like Peto's painting, a hand­ Love. Together they point toward bination of autobiography and time made, one-of-a-kind image, lovingly a reader engaged with Duchamp's capsule, memorializing the reading fabricated by the artist himself. And notion of the readymade (which habits and musical tastes of a late­

JUSt as the work of Peto and other Wolft' turns inside out by making twentieth century American nineteenth-century American realist what might be called "handmade artist-intellectual. They offer an painters was loaded with symbolic readymades," that is, fa bri cat ing emotionally compelling reminder meaning, Wolfe's strikingly "real" replicas of mass produced prod­ that certain books and records form three dimensional renditions of ucts) and attracted to Herriman's the basis of shared experiences , books, boxes, and records resound brilliantly wacky mass-market comic hopes. and expectations, which in with autobiographical and historical strip (beloved of mid-twentieth­ turn become inscribt'd in tht' psyche references. century intt'llectuals). In contrast, of a generation and an era.-]. W:

Wolfe was drawn to painting Carver's tnle points to a more private books and records as a way to make and personal domain. Another box work simultaneously about painung. piece. Untitled (El{.�J>lant,Gatew 2000 J. Conttrsohon 11.1lh tht author, .\f 1997. literature, design, and music, and Cartons) (1996-97; CAT. -.:o.48), his selection ofsubjects reflects both brings together nine books in two his own life and his experience of the boxes. Among its contents are several period in which he came of age. He art books, the poetry of Paul Ve rlaine considers the painstaking care he and Arthur Rimbaud, and the first 5. Restless II. 1997 12. No Betweens, 1996 16. Come Together, 1995-96 22. Orange without Sp ace (Na ranjo sin espacio), 28. The Four Seasons: Winter, 1994-96 Present Glass, sandblasted glass, and mirror Silk, cotton, polyester, and thread Fabric, thread, and steel 1993 Wood, pipe cleaners, granulated turf, 36 x 63 x '/+ in. (94.r x 160 x .6 cm) 360 x 324 in. (914. x 823 cm) overall 341h x 26 x 61h in. (87.6 x 66 x 16.5 cm) Orange and plasticine polyurethane foam, cotton, and flocking Courtesy of Caleria Camargo Vila�a Courtesy of the artist and CRG Collection of the artist; courtesy of Jay 153/+ x 153/4- x 153/4 in. 28 x 78 x 59 in. (71.1 x 198.1 x 149.9 cm) Tense: Gallery, New York Gorney Modern Art, New York (40 x 40 x 40 cm) Collection of Eileen and Peter 6. Restless Ill, 1997 Courtesy of the Marian Goodman Norton, Santa Monica Class, sandblasted glass, and mirror 13. Untitled (Split), 1997 l 7. StepLadd,,, 1997 Gallery. New York Nine 36 x 41 x1/4 in. (91.4 x 104.1 x .6 cm) Mirror on canvas Human bone, wood, and glass Courtesy of Galeria Camargo Vilap Diptych, 72 x 48 in. (183 x 122 cm) 10112 x n1/8 x TJ1/8 in. (26.7 x 28.3 x 23. Four Birycles (There Is Alwqys One Kathryn Spence each panel; 72 x 96 in. (183 x 244 cm) 28.3 cm) Direction) (Cuatro bicicletas [Siempre hqy una Artists overall Collection of the artist; courtesy of Jay misma direcci6n]), 1994 29. Untitled (red car), 1994 Felix Gonzelez-Torres Courtesy of the artist and CRG Gorney Modern Art, New York Altered bicycles Chromogenic development print Gallery, New York 7715/16 x 883/iG x 59 13/16 in. 41 x 67 in. (104.1 x 170.2 cm) in the 7. Tim Hotel, 1990 (198 x 224 x 152 cm) Courtesy of the artist and Stephen Forty-two electric bulbs and Gabriel Orozco Carlos and Rosa de la Cruz Collection Wirtz Gallery electric wires Charles leDrey Nineties 4331/16 in. (2.000 cm) 18. Recaptured Na ture (Naturalew recuperada), 24. The Green Ball, 1995 30. Manry, 1995 Collection of Chara Schreyer; courtesy 14. Milk and Hanry, 1994-96 1990 Cibachrome print Play money, photocopied money, of Thea Westreich Art Advisory Two thousand porcelain objects, glass, Rubber J27/r6 x r85/s in. (31.6 x 47.3 cm) newspaper, paper towels, tissues, mag­ Services and wood Approx. 373/8 x 373/8 x 373/8 in. Collection of Mary and Harold Zlot azines, photographs, coupons, rubber Catalogue of the Exhibition Installed dimensions' 77 x 30 x 30 in. (94.9 x 94·9 x 94·9 cm) bands, and tape 8. Untitled (Po rtrait of Dad), 1991 (195.6 x 76.2 x 76.2 cm) overall San Francisco Museum of Modern 15 x 20 x r6 in. (38.1 x 50.8 x 40.6 cm) White candies, individually wrapped in Whitney Museum of American Art, Art. Natasha and Jacques Gelman Jennifer Pastor Courtesy of Allan Stone Gallery, Janet Cardiff cellophane, endless supply New York. Purchase, with funds from Accessions Fund, 97.140 New York Dimensions variable; ideal weight: 175 lb. the Contemporary Painting and 2 5. The Four Seasons: Fall, 1994-96

I. Untitled, 1997 Carlos and Rosa de la Cruz Collection Sculpture Committee, 96.75 19. Horseshit, 1992 Copper, plastic, polyurethane paint, 31. Untitled (bags), 1996 Audio, video, sculptural, and Cibachromc print and oil Found annotated Bible pages and glue electronic elements 9. Untitled (Portrait of Ross m L.A.), 1991 15. Civic Center, 1995-96 127h6 x 185/g in. (3r.6 x 47.3 cm) 120 x 78 x 57 in. (304.8 x 198.1 x Nineteen bags: 71/2 x 41/+ x 2 in. Dimensions variable Multicolored candies, individually Mixed-media installation in fourvit­ San Francisco Museum of Modern 144,.8cm) (19.1x10.8 x 5.1 cm) each Courtesy of the artist and Morris­ wrapped in cellophane. endless supply rines, painted wood, fabric, and Art. Natasha andJacques Gelman Collection of Eileen and Peter Courtesy of the artist and Stephen Healy Gallery, New York Dimensions variable; ideal weight, 175 lb. Plexiglas; spittoon: white stoneware; Accessions Fund, 97. 141 Norton, Santa Monica Wirtz Callery Private collection, Chicago ashtray, aluminum; cigar lighter: gold­ plated brass, cast plastic, cotton, flint, 20. Autumn Umbrella, 1993 26. The FourSeasons: Sp ring, 1994-96 32. Untitled (tape bag), 1996 Iran do Espirito Santo 10. Untitled (Vultures), 1995 and lighter fluid; cigar cutter, silver; Cibachrome print High-density polyurethane foam, Tape Framed gelatin silver prints cigars: and box' commercially printed 127h6 x 185/g in. (3i.6 x 47.3 cm) brass, hair, and paint 8 x 4 x 21h in. (20.3 x 10.2 x 6.4 cm) 2. Abat-Jour, 1996 Fourteen parts' 255/8 x 327/8 in. hand-lettered graphics, and wood San Francisco Museum of Modern 6 x 4 in. (15.2 x 10.2 cm) Collection of Sharon and Philip Stainless steel (65.1 x 83.5 cm) each; image size: Spittoon vitrine' 14 x 21 x 21 in. Art. Natasha and Jacques Gelman Collection of Eileen and Peter Linhares, Oakland 131/2 x 7 in. (34.3 x 17.8 cm) 147/8 x 227/8 in. (37.8 x 58.1 cm); (35.6 x 53.3 x 53.3 cm) Accessions Fund, 97.143 Norton, Santa Monica Courtesy of Galeria Camargo Vilap overall dimensions vary with installation Ashtray vitrine: 67 x 20 x 20 in. 33. Untitled (clothing stacks), 1996-97 Collection of Andrea Rosen, New York (170.2 x 50.8 x 50.8 cm) 21. Migration, 1993 27. The Four Seasons: Summer, 1994-96 Doll clothes and fabric 3. Extension, 1997 Cigar lighter vitrine, 661/2 x17 x 17 in. Cibachrome print Fiberglass, enamel, and oil Sixteen stacks, dimensions variable; Latex paint Jim Hodges (168.9 x 43.2 x 43.2 cm) 127/i6 x 185/g in. (31.6 x 47.3 cm) Three parts, 24 x 21 x 6 in. 2 x 2 x 2 in. to 8 x 2 x 2 in. (5.1 x 5.1 x Dimensions variable Cigar cutter and box vitrine, 64 1/2 x San Francisco Museum of Modern (61 x 53.3 x 15.2 cm); r9 x 19 x 32 in. 5.r cm to 20.3 x 5.1 x 5.r cm) Courtesy of Galeria Camargo Vila�a II. for, 1996 33 x 18 in. (163.8 x 83.8 x 45.7 cm) Art. Natasha and Jacques Gelman (48.3 x 48.3 x 81.3 cm); 33 x 29 x Courtesy of the artist and Stephen Silver-plated chain with pins Courtesy of Jay Gorney Modern Art, Accessions Fund, 97.142 24 in. (83.8 x 73.7 x 6r cm) Wirtz Gallery 4. Restless l, 1997 Approx. 48 x Go in. (12r.9 x 152.4 cm) New York Collection of Eileen and Peter Class, sandblasted glass, and mirror Collection of Howard Rachofsky Norton, Santa Monica 41 x 51 x 11+ in. (104.1 x 129.5 x .6 cm) Courtesy of Caleria Camargo Vilap 1993 199 34. Untitled (figures), 1996-97 41. Untitled (The Beatles), 1992-94 46. Untitled (Marquee Moon), 1995-96 5 'impuissance d'emettre un son, Chambre A Night at the Show, 'Fields' Zypressenstrasse fabric and doll clothes Oil, enamel, lithography, and model­ Oil, enamel, lithography, and model­ Artists' L Blanche, Quebec City 71, Zurich, Swit,;erland Two figures: 121/2 x 61/2 x 5 1h in. ing paste on two boards ing paste on board To To uch, Edmonton Art Gallery, (3r.75 x 16.5 x 14 cm) each 163/8 x r5 in. (41.6 x 38.r cm) 17 x 15 in. (43.2 x 38.1 cm) Edmonton (catalogue by Kitty Scott); 1996 Courtesy of the artist and Stephen Collection of Kathleen and Roland Collection of Vicki and Kent Logan BiagraphiE!s Southern Alberta Art Callery, Alberta Biennial for Contemporary Art, Wirtz Gallery Augustine 47. Untitled (The Ci!J and the Pillar), 1996 Lethbridge (1994; catalogue by Laurel Edmonton Art Callery, Clenbow Woodcock); The Power Plant, Toronto Museum, Calgary 35. Untitled (mud animal), 1997 42. Untitled (Mary Poppins), 1993 Oil, screenprint, and modeling paste (1994); Gallerie Optica, Montreal Thin ing, Wa lking, and Thinking, a part of Stuffed animal, mud. and Oil, graphite, enamel, lithography, on paper mounted on canvas board �===u:i .�� k wooden stool and modeling paste on board and wood (1996) Now Here, Louisiana Museum, Animal: 17 x 26 x 20 in. 163/8 x 157/8 in. (4i.6 x 40.3 cm) 81/,� x 57/8 x 13/8 in. (2r x 14.9 x 3.5 cm) Humlebaek, Denmark Janet Cardiff (43.2 x 66 x 51 cm) Collection of Thomas Lee and Ann Collection of Thomas Lee and Ann f 1995 The Dark Pool, Western Front Callery, 1997 Wooden stool: 16 x 14 x 14 in. Tenenbaum; courtesy Thea Westreich Tenenbaum; courtesy Thea Westreich Va ncouver (collaboration with George Auricle Interchange, Muttart Art Gallery, (40.6 x 35.6 x 35.6 cm) Art Advisory Services Art Advisory Services Calgary Courtesy of the artist and Stephen �..J Bures Miller); Walter Phillips Callery, ff Janet Cardiff,Annie Martin, andJane Willi ms, Wirtz Callery 4 3. Untitled (The Collected Poems of Frank 48. Untitled (Eggplant/Catew<:Y 2000 Ban Centre, Ban ff (catalogue by a O'Hara), 1993-94 Cartons), l 9 9 6-9 7 Born in Brussels, Ontario, 1957 Catherine Crowstone) A.K.A., Sastkatoon 36. Untitled (mud animal), r997 Book: oil, lithography, modeling Cartons: oil and screenprint on archival Lives and works in Lethbridge, Alberta The Road, Eastern Edge Callery, Saint Skulpture: Projekte in Munster '97, Stuffed animal and mud paste, canvas board, crash, and wood cardboard wth wooden armatures John's Westfalisches Landesmuseum for Kunst 28 x 31 x 25 in. (7r.1 x 78.7 x 63.5 cm) Pages: lithography on Arches paper Books: oil. lithography, screenprint, und Kulturgeschichte, Munster, Courtesy of the artist and Stephen Rubber band: oil and modeling paste modeling paste, paper, canvas board, Education 1997 Germany Wirtz Gallery on canvas and wood B.F.A., Queen's University, Kingston, The Empty Room, Raum aktueller Kunst, 1980 Vienna 123/4 x 9 x 2 in. (32.3 x 22.9 x 5.1 cm) 17 x 58 x 313/4 in. (43.2 x 147.3 x 80.6 cm) M.V.A., University of Alberta, Selected Bibliography 37. Untitled (mud animal), 1997 Collection of Peter and Mari Shaw, Courtesy of the artist and Daniel Stuffed animal and mud Philadelphia; courtesy of Daniel Weinberg Contemporary Art, San Edmonton, 1983 20 x 46 x 34 in. (50.8 x u6.8 x 86.4 cm) Weinberg Contemporary Art, San Francisco Selected Group Exhibitions Drobnick, Jim. "Mock Excursions and Courtesy of the artist and Stephen Francisco Tw isted Itineraries, Tour Guide Wirtz Callery Selected Individual Exhibitions 1989 Performances." Parachute Magaz.ine 44. Untitled (Ro!JNeuue Clicquot/Fortress Dualisms: Janet Cardiffand William (Montreal), no. 80 (October­ MacDonnell, Glenbow Museum. Calgary 38. Untitled (mud animal), 1997 Apple Cartons), 1994-96 1988 December 1995): 35. Stuffed animals, furry bathrobes, and mud Cartons: oil and screenprint on archival Ta bl'eau, Macdonald Stewart Art Centre 34 x 60 x 38 in. (86.4 x 152.4 x 96.5 cm) cardboard with wooden armatures (catalogue by IngridJenkner), Guelph: 1991 Garneau, David. "Post Ironic Re­ Courtesy of the artist and Stephen Books: oil, lithography, screenprint, Latitude 53, Edmonton (1989) Desert/Irrigated/Drought Resistant, II3 Te nth enchantments." Border Cross ings Wirtz Gallery gold leaf, modeling paste, paper, Street, S. Lethbridge (Winnipeg) (Fall 1996): 46-48. canvas board, and wood 1990 311/8 x 24 x 21 in. (79.1 x 61 x 53.3 cm) Janet Cardiff New Wo rk, Evelyn Ai mis 1992 --. "Janet Cardiff and George Bures 93-94. Steve Wolfe San Francisco Museum of Modern Art. Callery. Toronto Intimacies (performance with Charles Miller." Art/Text 58 (1997): Ruth Nash Fund, 96.157.a-d Cousins, Nelson Henricks, andJon 39. Untitled (Unread Books #1), 1990 l99r Winet), New Gallery, Calgary Genereux, Linda. "Janet Cardiff. " Oil, screenprint, modeling paste, and 45. Untitled (Important Information Inside), Whispering Room, New Gallery, Calgary; Artforum 29, no. 3 (November 1990): linen on wooden stretchers 1995-96 YYZ, Toronto (1992) 1993 176. Science Fair, Southern Exposure Gallery 91/8 x 57/8 x 5 in. (23.2 x 14.9 x 12.7 cm) Oil, screenprint, and modeling paste Collection of Helen and Charles Schwab on canvas mounted on mahogany panel 1992 at Project Artaud, San Francisco Heyd, Thomas. "Touching Us Softly." 10 x 71/i6 x 5/8 in. (25.4 x 17.9 x 1.6 cm) lnabiliry to Make a Sound, Eye Level Tu ning of the Wo rld, Nickle Arts Muse um, Border Crossings (Winnipeg) (Spring 40. Untitled (Flowers ofEuil), 1991 Collection of Mary and Harold Zlot; Gallery, Halifax ; Randolph Street Calgary 1994): 62. Oil and modeling paste on canvas courtesy Daniel Weinberg Gallery, Chicago (1994) board and wood Contemporary Art, San Francisco 1994 Litvin, Michele. "On Exhibit: Hearing The Ta ble Project, The Power Plant, Is Believing." Chicago Reader, 14 7 x 5 x 7/8 in. (17.8 x 12.7 x 2.2 cm) Collection of Hendel and Terry Winters Toronto December 1994·

0 Lounder, Barbara. "Janet Cardiff. " 1992 Canton, Katia. "Beige eaexposi�ao da �A•.UJJ!�� 1994 Parachute Magai.rne (Montreal), no. 71 Selected Group Exhibitions Ccimaras, Solar dos Camara, Porto fina ironia." Fo/ha de Sao Paulo, 27 Matrix Gallery, University of Felix (July-September 1993): 40-4I. Alegre August 1996. California, Berkeley Gonzalez-Torres 1984 X Mostra da Gravura da Cidade de Tr avtlrng, Museum of Contemporary Marks, Laura. "Janet Cardiff." Artforum Arte no Rua II, M useu de Arte Curitiba, Curitiba Chaimovich, Felipe. "Exposi\'ao veste o Art, Los Angeles; Hirshhorn Museum 33, no.7 (March 1995): 96. Contemporiinea. Sao Paulo mundo de beige." Jornal da Tarde, 27 and Sculpture Garden, Washington. 1993 August r996. D. C.; Renaissance Society of the Plath, Nils. "Audiotouren zwischen 1985 Coletiua da Pintura, Espa\'o Namour. Born in Guaimaro, Cuba, 1957 University of Chicago Fikt ion und Wirklichkeit ." Kunst­ Desenhar, Galeria ltau, Ribeirao Preto Sao Paulo Farias, Agnaldo. "Coletiva." Guia das Died in Miami, 1996 Bulletin, no. 6 (June 1997): l0-17. Desenhos, Centro Cultural Bonfiglioli, Lingua Latina Est Regina, Stux Gallery, Aries (Sao Paulo) 3, no. I I (1989): 1995 Sao Paulo New York 104-5. Solomon R. Guggenheim Museum, E o Desenho, Galeria Humberto, Sao Uma Outra Fotografia, Espa�o Useche, Education New York Paulo Sao Paulo King, Randal. "Bank Statement." Evento!ExposifaO, Saliio Cultural FAAP, Winnipeg Sun, 26 July 1991. B.F.A., Pratt Institute, Brooklyn, 1983 1996 Sao Paulo 1994 M.F.A., New York University Felix Goni.ale{-Torres (Girlfriend in a Coma), Grafica Contemporiinea, Galeria Do Bra.I}/, Albuquerque Museum, Leirner, Sheila. "Objetos: E nada International Center for Photography, Musee d'Art Moderne de la Ville de ran 11 I Humberto, Sao Paulo Albuquerque mais." 0 Estado de Sao Paulo, 10 October 1987 Paris � do Espirito Santo i;;� I Espe/hos e sombras, Museu de Arte 1986. "" 1)-- 1986 Moderna de Sao Paulo (catalogue by 1997 A Nova Dimensiio do Objeto, Museu de Arte Aracy Amaral) Machado, Alvaro. "Subversiio visual." Selected Individual Exhibitions Sprengel Museum, Hannover, ...... �, ..J Contemporanea, Sao Paulo Outros Te rrit6rios: Travessia pela Sexualidade, Folha de Sao Paulo, IO March i992. Germany Born in Mococa-SP, Brazil, 1963 Museu da I magem e do som, Sao Paulo 1988 Lives and works in Sao Paulo 1987 Projeto Ta marind, Museu da Gravura, Misan. Simona. "Iran na Luisa New Museum of Contemporary Art, lmagensde Segundo GerafiiO, Museu de Arte Curitiba Strina." Guia dos Aries (Sao Paulo) 7, no. New York Selected Group Exhibitions Contemporanea da Universidade de 30 (1992): 44-45. Education Sao Paulo 1995 1990 r988 XIXB ienal Internacional de Siio Paulo, Corte do Olhar, Museu de Arte Moderna de Moraes, Angelica. "Dribles na per­ Andrea Rosen Gallery, New York (also Real Wo rld, \Vhite Columns, New York B.A., Funda�ao Armando Alvares Pavilhiio da Bienal, Sao Paulo de Sao Paulo; Museu de Arte Moderna cep�ao ." Jornal da Tarde (Sao Paulo), 10 1991, 1992, 1993· 1995, 1997) Penteado, Sao Paulo, 1986 do Rio de Janeiro March 1992. Neue Gesellschaft fur bildende Kunst, 1990

1988 Fagosites, Gallery 400, Chicago Berlin; Museum Fridericianum, Kassel The Rhetorical Image, New Museum of AfaO no MAM, Museu de Arte Moderna XI Mostra da Gravura da Cidade de Rossetti, Flavia. "Em branco e preto." Stra nge Wqy s, Here � Come, University of Contemporary Art, New York Selected Individual Exhibitions de Sao Paulo Curitiba, Curitiba Guia das Aries (Sao Paulo) 6, no. 28 British Columbia, Va ncouver (1989): 53-54. 1991 1991 1989 1996 1991 The Boqy, Renaissance Society of the Plug In Inc. Gallery, Winnipeg, Real, lnstituto dos Arquitetos do Brasil, Beig e, Galeria Luisa Strina, Sao Paulo Tager, Alisa. "Paradoxes and Luhring Augustine Hetzler, Santa University of Chicago Canada Sao Paulo (catalogue by Ta deu Chiarelli) Transfigurations." Art in America 82, no. Monica, California Whitnry Biennial i991, Whitney Museum Pequenas M/ios, Centro Cultural Alumni, 7 (July 1994): 45· of American Art, New York 1992 1990 Sao Paulo 1992 Galeria Luisa Strina. Sao Paulo Apropriafiles, Pa�o das Artes, Sao Paulo Uchoa FagundesJr., Carlos. "1.E.S. Magasin 3, Stockholm Konshall, 1992 (catalogue by Tadeu Chiarelli) 1997 joga com tramas." Falha de Sao Paulo, 14 Stockholm Dissent, Difference, and the BoqyPo/itrc, 1994 Projeto Macunaima, FUNARTE, Rio de inSite 97, Installation Gallery, San March 1995. Museum of Modern Art, New York Portland Art Museum, Oregon; Otis Espa�o Sergio Porto, Rio de Janeiro Janeiro Diego/Tijuana, Mexico School of A.rt and Design, Los Angeles 1993 Fe lix Gonza/e{-Torres, Albert Oehlen, 1995 1991 Milwaukee Art Museum Christopher Wi lliams: TheaterViriti, Margo Caleria Luisa Strina. Sao Paulo Artistas Contemporiineos no Engenho Central, Selected Bibliography Musee d'Art Modcrne de la Ville de Leavin Gallery, Los Angeles Piracicaba Paris More than One Photograpiy>, Museum of 1996 de Abreu, Gilberto, "lnimigo das Travel #1, GalerieJennifer Flay, Paris; Modern Art, New York Randolph Street Gallery, Chicago paredes invisiveis." 0 G/obo (Rio de Tra vel #2, Galerie Ghislaine Hussenot, Post Human, Musee d'Art Contemporain, Janeiro), 17 July 1994· Paris Lausanne

0 r993 Relyea, Lane. "What's Love Got to Do 1994 Our Perfe ct Wo rld, Grey Art Gallery, New Construction Q.u otation: Collective Jmoges in with It?" fne{e, no. 18 ADiary ofFlowers. CRG. New York York University Selected Bibliography I. Photograp�. Sprengel Museum, (September-October 1994): 46-5 Everything/or Yo u, Interim Art, London Selections/Spring '93, The Drawing

Hannover Center, New York Darling, Michael. "Doodle Dandy, Just Charles LeDray

Marian Goodman Gallery, New York Schjeldahl, Peter. "Tender Sentience." 1995 Say Yes to Jim Hodges." Los Angeles Village Vo ice, 2 I March 1995. Jim Hodges, Center for Curatorial 1994 Reader, 31 May 1996.

1994 Studies, Bard College, Annandale-on­ A Bouquet for Juan, Nancy Hoffman

Pictures of the Real Wo rld (in Real Ti me), Paula Spector, Nancy. "Felix Gonzalez­ Hudson, New York Gallery, New York Deeter, Joshua. "Jim Hodges." Artforum Cooper Gallery, New York Torres : Travelogue." Parkett 39 (1994): Jim Hodges, CRG, New Yo rk Ethereal Materialism, Apex Art, New York 35, no. 3 (November 1996): 105. Born in Seattle, 1960 :ffymptoms of Interference, Conditions of 24-37. A Garden, Barbara Krakow Gallery, Lives and works in New York City Possibili!y: Ad Reinhardt, Joseph Kosuth, Fe lix r996 Boston Deitcher, David. "Death in the

Gon{a/ez-Torres, Camden Arts Centre, Storr, Robert. "Felix Gonzalez-Torres: States, Fabric Workshop and Museum, It's How You Plqy the Game, Exit Art/The Marketplace." Frieze, no. 29 London Being a Spy." Artpress, no. 198 (January Philadelphia First World, New York (June-August r996): 40-45. Selected Individual Exhibitions 1995): 24-32. )•es, Marc Foxx, Santa Monica, Les jleurs de mon jordm, Galerie Alain

1995 California Gutharc, Pa ris Edelman, Robert G. "Jim Hodges." 1983 Public Information: Desire, Disaster, Document, --. "Setting Traps for the Mind and Artpress, no. 189 (March 1994): 94-95. Broadway Expresso Gallery, Seattle San Francisco Museum of Modern Art Heart. " Artin America 84 (January 1997 1995 Jim Hodges, 1996): 70-77, 125. Galerie Ghislaine Hussenot, In a Different Light: Visual Culture, Sexual Harris, Susan. "J im Hodges." Artnews 1993 Paris 1996 ldenti!J, Queer Practice, University Art 93, no. 4 (April 1994): 173. Tom Culgliani Gallery, New Yo rk Wa lking and Thinking and Wa lking, a part of Warney, Simon. "In Purgatory: The Jim Hodges, Site Santa Fe, Santa Fe, New Museum, Unive1·sity of Califor·nia, Mexico Now Here, Louisiana Museum, Work of Felix Gonzalez-Torres." Parkett Berkeley (catalogue edited by Nayland Kandel, Susan. "Jim Hodges." Los 1994

Humlebaek, Denmark 39 (1994): 38-57. Blake, Lawrence Rinder, and Amy Angeles Ti mes, 6June 1996. Jack Hanley Gallery , San Francisco Scholder) 1997 Selected Group Exhibitions Late Spring, Marc Foxx, Los Angeles Levin, Kim. "Choices." Village Vo ice, 28 1996 Whitnry Biennial 1997, Whitney Museum Material Dreams, Gallery Takashimaya , November 1995. Jay Gorney ModernA rt, New York of American Art, New York 1989 New York Richard Te lles Gallery, Los Angeles Selections, Artists Space, New York New Wo rks, Feigen Gallery, Chicago Smith, Roberta. "Jim Hodges." New

Soucis de pensees, Art: Concept/Olivier Yo rk Times, I I February 1994. Selected Bibliography 1990 Antoine, Nice, France Selected Group Exhibitions Jim Hodges, David Nyi.io, VincentShine, --. "A.rt in Review." New Yo rk Times, Avgikos, Jan. "This Ts My Body: Felix Postmasters, New York 1996 24 November 1995. 1991 Artforum 29, 6 Gonzalez-Torres." no. Group Show, Galerie Ghislaine Forbidden Games, Jack Tilton Gallery. (1991): 79-83. 1991 H ussenot, Paris --. "The Horror: Updating the New York Born in Spokane, Wa sh ington , 1957 f:yric: Uses of Beau!J at the End of the Centu9•, just Past: The Contemporary in MOGA 's Heart of Darkness." New rork Times, Sweet Dreams, Barbara Toll Gallery, New Yo rk Coleman, A. D. "Gonzalez-Torres­ Lives and works in New York City White Columns, New York Pe rmanent Collection 1975-1996, Museum t June 1997. On Photography." Juliet Art Magazine, no. of Contemporary Art, Los Angeles 1992

u · 61 (Febr ary-March 1993): 56-57 1992 Masculine Measures, John Michael Kohler Upshaw, Reagan . "Jim Hodges at CRG Structural Damage: Charles LeDr

C1fJSWho StlL, Un1vers11y Ari Museum, Low-Key Mode of Art for the '90s." Insutute of Contemporary Arts, ;S1 Colon Sup1tro! Musco de Monterrey, Flash Art 26 (Summer 1993). 93· Univers11y of California, San1a Barbara Son Francisco E.romintr, 24- \1ay 1993. :[� London Monterrey, .\iex1co Ltlt mps d'un dtmn. Caler1e de I' Ecole des ,,. ,. ,,t: Kunsthalle, Zurich, Switzerland (cata­ --. "Global Art Gabriel Orozco." Beaux Arts de Lorien1, Lorient, Brunson, Jamie. "San Francisco Fax." logue by Benjamin Buchloh and 1993 Flash Art 27 (March -April 1994) 95. France Art lssuts, no. 32 (!\iarch-April 1994), Born in Jalapa, Ve racruz. Mexico, Bernhard Biirgi) Aptrto '93: Emergtn�o/Emtrgtnry, Biennale,

Transformtrs: rhe Art of Multiphren10, Center 34-35. 1962 Marian Goodman Gallery, New York Ve nice, Italy --. "Baclt 1n Five \111nutes." Parkttt, for Curatorial S1udies. Bard College. Lives and works in New York City In Tra m1t, New Museum of no. 48 (1996): 41-53. Annandale on Hudson. New York Cotter, Holland. "Lest We Forget: On 1997 Contemporary Art, New York Nostalgia." New Yo rk Times, 27 May 1994. Musee de Marseille, Chapelle, Centre Real T11ne, Institute of Contemporary Cameron, Dan. "Gabriel Orozco at 1995 Education de la Vieille Charite, Marseille, France Arts, London Marian Goodman Callery: Review."

Conflgura 2, City of h..fun. Germany Kandel, Susan. "Exquisite Miniatu1·cs Staatliche Museen am Kulturforum, Artforum 33, no. 3 (November 1994):

Degrees of Abstraction: From Morris Louis to of Sizable Seduction." Los Ange/ts Times, Escuela Nacional de Arte Plasticas, Berlin 1994 84.

Mapp lethorpt, Museum of Fine Arts, 22june i996. U.N.A.M., Mexico, 1981-84 The Epic and the Everyd

D1vmon of Labor: "Women's Wo rk" in Levin, Kim. "Sewing and Cooking." i986-87 Selected Group Exhibitions London Orozco." New York T1mts, 10 September

Conttmporary Art, Bronx Museum of the Village Vo ict, 9 February 1993. DAAD Artist in Residence, Berlin. Locrudoy lo cocido, Centro de Arte Reina 1993. Arts, Bronx, New Yori..: \.1useum of 1995 1983 Sofia, Madrid Contemporary Art, Los Angeles Rugoff, Ralph. "Little Feats: Charles Solon Noc1onol de Artei P/ashcai (d raw1 ng ��alt. Witte de With & Kunsthal, Criqui. Jean Pierre. "Gabriel Orozco (catalogue) LeDray's Expansive Miniatures." LA. section), Instituto Nacional de Bellas Rotterdam, the !'l.ctherlands at Galerie Crouse! Robel in." Artforum

Ft t11h11m: Pou.tr, Deiirt, and o,,pfactmtnt, l��tkJ>. 21-27 June 1996. Selected Individual Exhibitions Artes. Mexico City 32. no. 7 (March 1994): 95-96. Brighton Mu�eum and Art Callery, Ill Encutnlro Noc1onol dt Arlt Jovtn, Ins it uto 1995 Brighton, England (catalogue) Schjeldahl. Peter. "�o K1dd1ng." \lillogt 1993 Nacional de Bellas Artes, Wh1tn9 B1tnniol 1995, Wh11ney Museum --. "Like a Rolling Stone." Artforum Vo ice, 23 April 1996. Galerie Crouse! Robelin BAMA. Pans Aguascalientes, Mexico City of American Art, New Yorlt 34, no. 8 (April 1996) 88 93. 1996 Kanaal Art Foundation, Kortrijk.

B1tnnaft d1 F1rtn;:.t: Art &·Fashion, Seward, Keith. "Charles Lt>Dray." Belgium (catalogue by Benjamin 1996 De Zegher, Catherine \ii . "The Os of 1900 2000. Forte Belvedere (and vari­ Artforum 31, no. 8 (April 1993): 98. Buchloh and Jean Fisher) Sin motivoi aporentu /, Musco Carrillo Das Americas, Museu de Arte, Sao Paulo, Orozco." Porkttt, no.48 (1996): 54· 67. ous sites), Florence and Prato, Italy: Pro1ects 41, Museum of Modern Art, Gil, Mexico City Brati l

Guggenheim Museum (Soho), New Smith, Roberta. "The Pain of New Yo rk (brochure by Lynn Drawing on Chance: Seltctions from the Ebony, David. "Improbable Games."

York Childhood." New Yo rk Timei. 19 February Zelevanslty) 1989 Pe rmantnt Col/ect1on, Museum of Modern Art in America 84, no. 11 (November

Labor of Love, New Museum of 1993. A prop6s1to, Musco de! Ex-Convento del Ari, New York 1996): 105. Contemporary Art, New Yo rk 1994 Desierto de los Leones, Mexico City Everything That's Tnttresting Is New, Dakis --. "Charles LeDray." New Yo rk Times, Marian Goodman Gallery, New Yorlt Joannou Collection, Deste Fisher. Jean. "The 'Bride' Stripped

1997 12 April 1996. Museum of Contemporary Art, 1990 Foundation, in conjunction with the Bare. Even so . . . " Artforum 31. no. 3

As T.mt Cots Jb. Whitney Museum at Chicago (brochure by Laura]. Video D.F.. Bronx Museum of the Arts, Museum of Modern Art, Copenhagen. (November 1992): 98-101. Champion Plaza, Stanford. --. "Serious Side of an Infatuation Hoptman) �ew York Denmarlt

Connecucut with Fashion." NeTL forkTimes, 14 March Cabml Oro{co, Rirkit T1 rtovonijo og, Living Gintz, Claude. "Orozco 1n Paris."

At tht Thmhold of tht Vi siblt: Minuscult and 1997. 1995 1991 Art Museum, Reykjavik, Iceland PorktH. no. 39 (1994): 10-12.

Smo/1-Scalt Art. 1964-1996. Herbert F. DAAD Gallery. Berlin Another .\fmcon Art, Art Center College Kwangiu Biennial, Seoul. Korea

Johnson Museum of Art, Cornell Taplin. Robert. "LeDray's Microcraft." Galerie Micheline Szwajcer. Antwerp, of Design. Pasadena, California l'vn.Acquisition Display. Metropolitan Humphrey, David. "New Yori.. Fax." Art

university. Ithaca. New Yorlt, Artin Amtrico 84, no. 9 (September Belgium Cutrpos Encontrados, Musco de la \tuseum of Art, New Yorlt lssuts, no. 35 (:-..ovcmber December Meyerhoff Galleries, Maryland 1996): 84-87. .\figratturs, Musce d'Art Moderne de la Alhondiga de Cranaditas. Cuanajuato. Sitt ofBt1�. Institute of Contemporary 1994): 32 33. Institute of Art, Baltimore: Santa Ville de Paris Mexico Art, Boston \ilonica Museum of Art, Santa Monica. Weinstein, Jeff, "Tender Buttons: 'Jhe Monica De Cardenas, Milan Kwon, Miwon. "The Fullness of Fmpty

California: Edmonton Art Gallery. Art of Charles LeDray." Artforum 34, 1997 Containers." Frie{e, no. 24 Canada. no. IO (Summer 1996): 96-99. Wlutnry 81tnnial 1997, Whitney Museum (September October 1995), 54

B1ennolt, Venice, Italy of American Art, New York Levin, Kim. "Tran� Europe Express. " --. "J ennifer Pastor." Artforum 35, 1997 1990 Vr llagt Vo ret, 27 September 1994. Selected Sroup Exhibitions no. I (September 1996): 98-99. B

Springer, Jost Manuel. "Garbage and 1994 Kandel. Susan. "Jennifer Pastor: American, born in Stuttgart, Selected Bibliography 1993 G<"rmany, 1963 Art in Mexico." Polrtsltr 3 (Fall 1992): ft nnrft r Pastor, To m frredman, and Jim Richard Telles Callery, Los Angeles." T1LoR ecent \.torh, Luhring August int', w 8 19. lstrmann, Richard Tellc.-s Fine Art, Los Fr1t�t. no. 18 (October 1994): 66. Lives and orks in San Francisco Baker. Kenneth. "Award Show at New New York Angeles Langton Arts." San Francrsco Chronrclt, 31 Surfact dt riparatron, FRAC Bourgogne, . "Jennifer Pastor Takes Classical October 1995. 1994

Dijon, France Command of Space." Los Ange/ts Times, Education Daniel Weinberg Callery, San 9 May 1994. --. "Wirtz Reprises Kathryn Francisco r996 B.F.A., Painting, University of Spence." San Francisco Chronicle, 27 Contrafigura, Studio Cuen.t_ani, Mr/an . "Jennifer Pastor: Dream-Day Colorado, 1986 .January 1996. 1996 . u Jennifer Pastor Universalis, XX111Brtnal Internacional dt Sao Residue." Art + Text 55 (1996): 50-53. M.F.A . Sculpture , Mills College, 1993 Wo rks on Paptr, T uh ring A gustine, Paulo. Silo Paulo Berk, Amy. "San Francisco Fax." Art New York Knight, Christopher. "Pastor Giddily lssut.1. no . .ij.I {january-Februray 1996): 1997 Embraces the Trash Vernacular." Selected Individual Exhibitions 34 35. NtlL Work: Drawi"Kl To d'9'• San Francisco Los Angtlts Timts, 19 December 1996. Selected Sroup Exhibitions

Born in Hartford. Connecticut, 1966 Museum of Modern Art 1996 Porg<'s, Maria. "Report from San

Lives and works in Los Angeles Whitn9 B1tnn1al 1997, Whitney Museum Myers, Terry. "J ennifer Pastor." Steph<'n Wirtz Callery, San Francisco Francisco." Sculpturt 13 (.:'\ovember­ 1989 of American Art, '\cw York Blocnolts. no. 7 (Fall 1994): 72. Decembt'r 199�): 52 53· A Good Rtad· TlitBook as Mttophor. Barbara 1997 Toll fine Art, New York

Education Pagel. David. "Entering a New Stephen Wirtz Callery, San Francisco Selected Bibliography Dimension." Los Angtlts Timts, 1990

B.F.A., School of the Visual Arts, New 25 August 1996. Culturt in Pitm: Othtr Sacral Ob;tcts, Beaver

York, 1988 Anderson, Michael. "lnvnational '93." Selected Sroup Exhibitions College Art Callery, Clens1dc,

M.F.A . . Sculpture, University of Art lssuts, no. 31 (January Fe bruary Rugoff, Ralph. "The Carden of Pennsylvania (catalogue by Trevor

California, Los Angeles, 1992 1994): 43. Uncanny Delight." L.A. Wt tk!Y, 13 May 1993 Steve Wolfe Fairbrother) 1994. M.F.A. exhibition, 303 Callery. Mills Drawing>. Paula Cooper Gallery , New

Cohen, Michael. "Cityscape : L.A." College, Oakland York Selected Individual Exhibitions Flash Art 28 (May-June r995): 64. Weissman, Benjamin. "Seasonal Ron Baron, Christian Marcl'!JI. Steue Wolfe , Change." Fr1e{e, no. 3r (November­ 1994 Laurie Rubin Cnllt'ry, New York r994 Drohojowska Philip . Hunter. December 1996): 46-49 . lnv1tal1onal Show, 750 Callery, American. born in Pisa, Italy, 1955

Richard Te lles Fine Art, l.os Angeles "Turning Over a Brighter Leaf." las Sacramento, California Lives and works in San Francisco 1991 Ange/ts Times, 24 :>iovember 1996. Ntxt to Nothing, Center for the Arts TlieLibrary of Babel. Hallwnlls 1995 Verba Buena Gardens, San Francuco Contemporary Arts Ct'nter. Buffalo:

Studio Cucnzani, Milan Duncan, Michael. "L.A. Raising." Art rn (catalogue by Rene de Cuzman) Education White Columns. New Yori< (catalogue Amerrco 82. no. 12 (December 1994) Stcond Annual}uritd Show, Society for by Todd Alden) 1996 72-83. Contemporary Photography, Kansas B.A.. Virginia Commonwealth Mrchatl Lanc!J, Clmstran Marc/'9', Ptttr Nay.

Museum of Contemporary Art, City, \iissouri Un1vc.-rmy. Richmond, 1977 Andrtas Schon, Stti·t ifo!(t, Jay Corney

Chicago ; Museum of Contemporary Cerstler, Amy. "Jennifer Pastor at Modern Art, New York

Art, Los Angeles (catalogue) Richard Te lles Fine Art." Artforum 33, 1995 Ntw Gtntratrons: llt111 !Ork, Carnegie o no. 3 (.:'\ovember 1994): 93· B'!Y Area A11;ards Sholli, New Langt n Arts, Selected Individual Exhibitions Mellon Art Callery. Carnegie .Mellon San Francisco University, Pittsburgh

Greene, David. "Just the Facts, 1989 ��ords & #s, Museum of Contemporary

Ma'am." LosAngtlts Readtr, 13 May 199+. Dl8ne Brown Callery, New Yo rk Art, Wright State University. Dayton, Ohio 1992 1996

Drawin.i;s. Stuart Regen Callery, Los Exposurt. Luhring Augustine, New York

Angeles

Hou.It Is. 'fony Shafrui Callery. :-;cw Selected Bibliography

York

)ant Hammond, To tsuo M9a11ma, Thomas Bonetti, David. "Weinberg Callery

1Voq.owsk1, }'!)Ct Ptnsato, Andrtw Sptnct, and Shows How It's Done... San Fra nmco

Sttvt Wolft, John Berggruen Callery. Examiner, 6 April 1995.

San Francisco

Malmo/ Mattm: Photograply> and Sculpture Heartney, Eleanor. "Steve Wolfe al from the Colltcl1on, Fisher Landau Center, Luhring Augustine." Art 1n Ammca 84,

Long Island City, New York no. II (November 1996): 114-15.

The Other Side, To ny Shafi.a,; Callery,

New York Johnson, Ken. "Steve Wolfe at Diane

Brown." Art in America 77, no . 9

1993 (September 1989): 204 ·5.

Drawingi: Thirtieth Annwmoo Exh 1b1tion to

Btntfit tht Foundation for Contemporary Newhall, Edith. "Steve Wolfe at Diane

Ptrform1ng Arts, Leo Castelli Callery , New Brown." Artnews 90, no. I {January

York 1991): 150-51.

Erlratagant: Tht Ecano"!1 of Eltganct,

Russisches Kulturzentrum, Berlin Smith, Roberta. "Steve Wolfe at Diane

T1ttn!:f Ytars, A Str1ts of Annn·maryExl11b1tions Brown." Ntw Yo rk Timts . 31 March 1989. (part 2), Daniel We inberg Callery,

Santa Monica

1994

Sculpturt, Luhring Augustine, New York

1995

Articulations: Forms of Language in

Contemporao Art, Fisher Landau Center,

Long Island City, New York

In a Diflerent Light: Visual Culture, Sexual

ldenl1!J, Quttr Practict, University An

Museum, University of California,

Berkeley (catalogue edited by Nayland

Blake, Lawrence Rindcr, and Amy

Scholdcr)

Inaugural Eth1b1tion, Paul Morris Callery,

New York

It's On!J. Rock and Roll: Rack and Roll Currents

1n Conltmpara!J Art, Contemporary Art

Center, Cincinna11 (catalogue by

David Rubin)

Richard Artschu,agtr, Ptltr Cain, V! }a Ctlm1ns,

Chuck Close, Jouph Cornell, Robtrt Gober,

George Stoll, Stett Wo lft, Daniel Weinberg

Callery, Son Francisco