‘teat war ‘Tocpene 2) 0.80 oe ‘bare aarne EDWARD HICKS, ‘Tu SIGNING OF (OF INDEPENDENCE (eta, CONNOISSEUR ON THE NEw MUSEUMS ‘DESIRE AND THE ECONOMY OF THE OBJECT Ded ane AMERICAN XENOPHOBIA DRAMAS by Paces 22 THe coxrext ‘STATUE OP LIBERTY REMEMBERING JULIAN BECK ‘AS PAINTER ‘THE ROMANCE OF TE VISTA IN NEW PAINTINGS HUDSON nivEx EDITIONS, TPELAVIN EDITIONS AREDORT BACK PROM ‘OF PRINTMAKING tinny Cotes SPECIAL SECTION, ‘casas DAVID FRIEDRICH ‘nee 4883) HISTORY PAINTING AND ISTORICISM IN THE ART ‘BOUND BY TIME AND PLACE. ‘cAsrar bavi FRIEDRICH ‘CASPAR bavi FRIEDRICH, MONK BY THE Sea ty alert Bae PAINTINGS BY FIVE ‘CONTEMPORARY ARTISTS lame Paros Pune rocock’s cueMicatanmron ty lata Seger THORNTON WILLIS ty Nerd ee TINCOLN PERRYS DIALECTICAL NARRATIVES iy Term Bat ax ransT's Aguas suBweRsvs ASITERARY COLLAGE Wy Da Bet a MARK KOSTABT MAGAZINE, su sAcoBt vy tary E Slr ATI MUEHLEMANN by Rowe Gately ng phe are ua JONATHAN SANTLOFER JOHN SINGER SARGENT Frans Kline Spey Blam Poca Coyne! Bevery Fishman by Bary Setateky Stephen Buches ty deahs Tepiow Woodlack Prints ty Tay Coos wy Ammer oi “Cindy Kane so inapaey ‘The Decay or ee Urban ane Kendal user ‘Nan Objective Summer Group show Torben Mason66 PHILIP POCOCK’S CHEMICAL MIRROR JONATHAN SELIGER ‘Two opposing characteristies have come to predominate Philip Pocock’s thinking: the volatile and the fixed. Pili Pocock newest work represents a unification oftwo planes ‘optics and draughtsmanship. Tralned in the chemical sctences, Pocock initially pursued a course of action within the mainstream tradition of documentary photography. I Is understandable why is deviation from realtime and space would not occur until relatively Tate, and that when it did it, would come upon him with explosive | force. Anyone familiar with the evolution of his ar thus far will realize that the use of the brush added a mythic dimension to his work, as the central drama in a void of chemicals. Figures were frequenty left floating and adrift in an indeterminate ground, recalling both through placement in space and hierarchical seale Giottoesaue perspective. That they were literally not grounded in the present time (asin The ‘Spectators for instance, after Antonio del Pollaiuol, which depicted Hercules and Antaeus battling it out with demons looking on lke S0 many paparazzi; or Earthbound, ater Masaccio's Expulsion) was an act of severance that succeeded in controverting what one had previ ‘ously thought a photograph could or should be: they defled the restric tion of capturing the fleting moment, opting Instead for the timeless ness of myth. Prioro this, Pocock wasstillou there clicking the shuter recording. 1 neighborhood —then known as Lolsaida in its very rapid demise ‘What intrigued him then eas the unlikely juxtaposition of two visa events (primarily a mural and a speciic urban lieu) which could be roughly categorized as the real and the unreal, the dimensional and