A R T   L E T T E R

The Timely Magazine of Art

#37 <previous/ next> Artletter index September 15, 1996

Gael Stack at Moody Gallery                                       ends	10/5

Gael Stack's work is contiguous. Paint is not left alone to puddle or pool or
drip. Quiet colored- blue, green and scrubby earth toned backgrounds are
rubbed in with a nervous hand, then obfuscated with wandering scrawls.
There is a rich, neurotic quality to this work as if some Zen pilgrim is 
searching for tranquility, only to be confounded by so many grocery lists.
Much like being in meditation with someone who can't stop muttering to
themselves.- Kelley Loftus

Joe Mancuso at Barbara Davis Gallery	10/5

Three superb pieces, each the summation of infinitesimal accumulation carried
out to its logical conclusion. Along the way, a wealth of unexpected meanings
arise naturally from the materials and process. Cone (White), near the door,
glistens like an albino phonograph record; Shingle Ring  forms the iris of a giant
nature eye. One Gallon  neatly reprises the original shape of a paint can in a
stack of glossy tortillas. At his best, Mancuso gets out more than he puts in: the
whole transcends being simply the sum of the parts. Orbit (joint tape) is
slightly more decorative and arbitrary, but squeaks by on simplicity of
materials and a striking moire effect. Mancuso's best pieces have an
inevitability that the lesser pieces lack. Self-limiting, these three pieces have a
definite ending dictated by the process. unlike Roll, Straw, and Bundle , which
were stopped arbitrarily, leaving an untidy conceptual edge. -B.D.

Joe Mancuso at Barbara Davis Gallery	10/5

Using ordinary building construction materials, Mancuso creates objects which
transcend functionality. Combining the best of process art, op art and
minimalism and conceptualism the sculptures play the aesthetic game of beauty.
The Targets do not deserve their promnent location in the gallery. Send the
Targets back to Johns.-Greg Tramel

Otis Jones at McMurtrey Gallery	10/12

Jones' sculptural pieces have more going on. InWhite Circle , the canvas is
stretched like a drum over stacked wooden disks. The off-kilter thick white
dot near the center is unexpected. Stacks  is best of show for its
simplicity. Three balls in ascending sizes: one and two are smooth as cue
balls, three is natural wood and visibly carved.  Jones two-dimensional
works use predictable art materials in a commonplace way: fuzzy
juxtapositions of black and white, tastefully softened geometric shapes--
dots, perpendicular lines, half black/half white canvases--all sensitively
scuffed around the edges, and a bit cliche.-Delfina

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