Spin                                                                                                                                                                                                                                                                                           2003                                                                                             


The Santa Barbara Independent - January 30, 2000
Bloom- Staton Greenberg Gallery

Murky mood-lighting informs much of Keith Fishman's hypnotic small image
"Tulips, Monticello,"
an interior scene highlighted by
the tiny dancing sheen of tulips and their white vase. They become
little beacons in a darkened yet detailed space. Here, flowers appear almost heavenly, like
impermanent and delicate epiphanies in the darkness. No wonder
artists continually return to the subject.

Santa Barbara News Press - November 1-7, 2002
Staton Greenberg Gallery

 "Alternative views of land and landscapes"

 Close-up scrutiny is required on our part to get the point of Keith Fishman's subtle photographs,
marked by the sparsest bursts of visual activity, which is what gives them their poetic charm.
A tiny twig, a bit of driftwood lodged between boulders, and other minutiae are granted large
r importance in the natural scheme, or so the message seems to be.


The Santa Barbara Independent - November 27, 2001
Caruso/Woods Fine Art

Keith Fishman Carbon Prints

 There are surprising implications of voyeurism working two ways,
windows that suggest bug-eyed perspectives look back at the
 viewer. "Gloves" goes further in suggesting the inhumanity of mass culture:
A bewildering overload of i
nformation hides behind pretty, tactile facades  Fishman loves textures, and be
tter yet, textures that empty into the void. "Eclip" and "Pods"
suggest a texture of half or mistaken,
meaning that empties out onto blank mystery,
thus making the photographs hard to file away. In other words,
objects to contemplate over long periods,
or in still another world, art.