SEVEN COLLAGE AND ASSEMBLAGE ARTISTS
TRANSFORM OBJECTS INTO ART AT THE
FIELDING GRADUATE INSTITUTE ART GALLERY
local artists have turned the gallery of the Fielding Graduate
Institute into the scene of a sprawling, ambitious inquiry into time
and space through the multiple mediums of collage and assemblage art.
The artists, invited by curator participant Wayne J. Hoffman, include
Tony Askew, Daniel Case, Steve Cushman, Anne Luther, Barbara McIntyre
and Susan Savage.
In "Quality Ride" and "Look (Entrada)," the two halves of a yellow taxi show up, entering and leaving the picture planes, traveling through the bright sophisticated imaginary city of Askew's delightful work.
Daniel Case pushes the boundary between collage and assemblage, incorporating elements such as steel instruments, mesh and netting with a pictorial sensibility informed by abstract painting.
In his series "The Day After Tomorrow," "Next Tuesday" and "Thursday," his painterly style is most in evidence as minimalist arrangements of black and silver on red are given subtle variations and masked with bits of mesh and hair. The effect is haunting and beautiful. The emphasis on time, as announced by the titles is one that runs through the exhibition.
Steve Cushman is the most vigorous in pursuit of the assemblage path, with objects nearly cascading out of the antique drawers and wooden cases that often form the ad hoc frames of his compositions.
In the dark and enigmatic "Not an Exit," the open lid of horizontal case holds a sideways mounted print of San Luis Obispo Men's Colony. Could this eerie linoleum cut, with its gnarled oak in the foreground, have come from a prison art studio? On the bottom of the drawer a prefabricated metal sign proclaims that this is "NOT AN EXIT."
The drawer is, paradoxically, filled with keys -- keys to doors, keys to cars, keys no longer in use. Cushman raises one of the great basic questions of art: What is this work an opening to?