Andy Rocchia

  • Portland

    It’s remarkable when folks in this area have to look northward—to Washington state—for inspiration but look and venture they did this past month—to Olympia, of all places. First, for the sake of clarification, it must be said that Marilyn Monroe—who was oft accused of selling herself to the public on the basis of sex, countered a group of reporters one day with the remark that if she were to be identified with an institution, she couldn’t think of a better one. And the 1,000 or so guests (Oregonians included) who attended Washington’s First Annual Governor’s Invitational Art Show in Olympia’s

  • Portland

    A memorable recent show was the exhibition of 74 drawings and prints by the Italian, Umberto Boccioni, at Reed College.

    The offering, organized by the Museum of Modern Art under a grant from CBS Foundation, was brought to the Eastmoreland campus by the Friends of the College and it suggested Boccioni’s considerable achievement.

    Drawn from the collection of Harry Lewis Winston of Birmingham, Mich., the graphics gave excellent opportunity to trace the artist’s introspective, restless, ambitious and troubled periods of development. Particularly interesting in that they revealed how completely, and

  • Portland

    If a $10,000 item in the Multnomah County budget destined for the Portland Art Museum had not been contested by those venerable gendarmes of decency in art, i.e., Mrs. C. G. Murphy’s “Citizens for Art” committee—the summer in the City of Roses would have been a torpid one, indeed.

    However, Mrs. Murphy got her steam up earlier than usual this year—and when the members of the Multnomah County Tax Supervising and Conservation Commission met—not long ago—­they found themselves in the midst of a rousing traditionalist-abstractionist fracas.

    The money is only part of the operat­ing wherewithall the

  • Portland

    Museum officials––all on their way to the Big Meet in Seattle––came strag­gling into the city like so many rumors of casualties into Washington after the Battle of Bull Run. Undoubtedly, the most curious ensemble were those dele­gates of 12 foreign museums who were wined and dined one evening mid-month by Oregon Ceramic Studio’s staff, mem­bers and friends. The group, traveling under the monicker of the Fourth An­nual Tour for Foreign Museum Profes­sionals, was sponsored by the U. S. State Department. They arrived on the Pacific Coast in April, and since then have been on a bus tour visiting

  • Portland

    Continuing for varying lengths of time through April in Portland were: paintings by Ben Shahn at Reed College; the 34th International Exhibition of Northwest Printmakers at the Portland Art Museum and “100 Contemporary Prints from Greece” at Portland State College.

    The Shahn show included 30 works by the artist from 1931 to 1958, some brush and ink drawings but mostly tempera and watercolor paintings. The latter, generally, were bright, flat and satiric. Titles give some idea: Destroying Wine, Exterior of a Closed Bar, (from the artist’s Prohibition Series of 1933–34), Laissez Faire—1947 an

  • Portland

    The continuance of three exhibitions of the drawings and woodcuts of Leonard Baskin—and the reading of the Baskin Manifesto: “The Necessity for the Image”—have given both the city’s avant garde and rear guard fuel for thought. Recently at Portland Art Museum, the Artist Membership presented six panelists whose subject for discussion was a question raised in Baskin’s New Image. The question was: “Can an art which is wholly devoid of figurative elements hold such wonder and glory as does so much of the art of the past?” The presence of the opposing forces which met for the debate in the sculpture

  • Portland

    Brilliant but brief describes the existence of an art gallery in Portland—and no gallery could have had a shorter, more dazzling career than the Garden Gallery which closed this week after 10 roller-coaster months of operation.

    Located in a posh area near the southwest outskirts of the city, it was opened last December by William C. Kremmel, a former interior decorator. The little enterprise, sandwiched into a shopping center, offered for sale literally everything from mosaic murals to manure (dried). Yet, with lucrative sidelines of garden supplies, the Garden Gallery failed. In so doing it

  • Portland

    Languor describes the Oregon art scene at present . . . In Portland, with the passing of the Ben Heller collection from the Museum, plus a few canvases and drawings by local and out-of-state artists—the 1962 summer scene should go on record as being the dullest ever.

    For five weeks the Heller exhibit did its best—and that was to draw a gate of 7,564. That the show attracted this many at this time of year is remarkable—considering the record for summer draws of previous years.

    Undoubtedly adding to the interest in the assemblage were the slide tape programs on abstract expressionism organized by

  • Portland: The Juried Exhibition


    THE REVIEW NEIL A. KOCH wrote covering the Oregon Art scene generally, and the “Oregon Artists, 1962” exhibition, specifically, deserves comment—since it was directed at one of the “baking powder art critics who so lavishly document every wisp of mediocrity.”

    The review, in your June issue of Artforum, blasted Portland Art Museum’s juried exhibition of painting and sculpture by Oregon artists—calling it “not so much of an art show as a summation of the creative deterioration that has devastated the state . . .”

    To get right to the point—mid-way through this pronunciamento, Neil A. Koch, Eugene