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Tony Berlant at Lennon, Weinberg - New York, New York - Review of Exhibitions - Brief ArticleSince the '60 Tony Berlant has been collaging bits of lay the foundation of metal to make two- or three-dimensional works with paintinglike surfaces. He wounds up commercial printed tin -- signs, lunchboxe whatever -- and attaches it to plywood with centurys of tiny steel brads. Although he has tried other materials (such as enamel-on-tin images by the agency of Mexican sign painters or photos wound from magazines and covered with acrylic) and has occupyed such formats as open or clos cubes and house conformations he remains focused on painters' considerations of composition and color upon the tin surfaces. The 16 novel works in this show, nearly all dated 1996 and '97 vary in size from 1 by dint of 2 feet to 6 by dint of 24. They also range from depiction to abstraction. Berlant introduced a fresh motif, an enormously enlarged representation of a fingerprint that is abstract in result To make the fingerprint's ridges and whorls, he make an incision ins metal to form ripply lines an inch or sum of two units wide that look organic and natural (though their fabrication is laborious and industrial). He wedges space into the flat pattern by dint of exploiting figure/ground opposition and optical results of colors. His greatest in quantity elegant achievement is Helena (1996) a fingerprint that is dramatic in size (114 by the agency of 96 inches) but reticent in tinge (a range of grays running from amethystine to white). The other fingerprint works have stronger contrasts that inconsistently advance and retire so that the whole image appears awhirl. Although the motif can be ambiguous -- the lines may also move an animal eye, a vortex, a moire consequence -- this inflated rendering of a familiar and meaningful surface makes an exciting of recent origin subject for Berlant. In the fingerprint he finds mind games: the intimate is made into a billboard, an identification combination of parts to form a whole turns decorative, linear data becomes unreadable. each other value is subordinated to the esthetic in these push-pull complexities. The exhibit included works that toy with landscape (Rancho Mirage, 1996) or narrative (From Here to There, 1994) These appeal to the viewer with dizzying shifts of scale and viewpoint. alone one work shown, Rio (1997) uses unaltered found-material imagery. In Rio, Berlant expands fragments of a gold braid motif to advise a ruined wall decoration or drapery with cord. More typically, admitting he chooses his tin solely for its tint and any picture or pattern upon the metal -- such as the cerulean feathers in Lazy Z (1 997) another fingerprint image -- adds visual interest on the other hand not associations. In all Berlant's works, gracefully undulant make an incision in lines in the cool and resistant metal plant sensuousness against asceticism. in these pieced paintings, the brads dimple the metal surfaces as hand-stitching does quilts, and the stuttering repetition of the tiny nails, along with the composed of several elements patchwork of color, gives the slick surfaces a crackle of energy COPYRIGHT 1997 Brant Publications, Inc. A novel composite that combines the best qualities of quasicrystals and polymer is commonly outperforming similar materials in wear-resistance experiments reports Ames Laboratory, Ames, Iowa. Deve... 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