Robin Winters
Tyler Gallery
The territory explored in this two-part installation, Leaning Missives/Floating Vessels, 1988, was the playground of the imagination. The missives, black-ink drawings on sheets of 8-by-6-inch galvanized tin, were installed in the gallery's small entry space, arranged in two evenly spaced sets of 10 and one of 16 and set on shallow, eye-level ledges that traversed three of the room's walls. The drawings depicted elements from Robin Winter's familiar pictographic repertoire—quickly rendered, quasi-primitive images of maps, heads, and human or animal figures. While the rows of drawings could have
1000 Airplanes on the Roof
American Music Theater Festival
In this era of mega-Gesamtkunstwerk performance affairs, it's rare to encounter works that actually deliver the new theatrical pleasures promised by the couplings of cross-genre collaboration and polymorphous mixed media. 1000 Airplanes on the Roof, a "science-fiction music-drama," combined musical, dramatic, and scenic elements by its three collaborators—composer Philip Glass, playwright David Henry Hwang, and set designer Jerome Sirlin—in exemplary fashion. In practical terms, this hyphenate hybrid resembled a chamber opera, with its 90-minute length, limited character development, and constant