Bill Berkson

  • Robert Mangold

    Robert Mangold has always been a steady, decorous painter of considerable scope—likable if you like passionate, vigorous abstract art with a methodology of understatement. He has interested himself in arguing general shapes into specific images, usually by modifying them with distinctive monochromatic color spread evenly across the whole support; Mangold has said, “Edges make the structure, the colors make the surface:” The results have been paintings that are not merely pure and simple but clear and resonant, like correct declarative sentences that are delivered in a firm, modest tone but that

  • Harry Fritzius

    For the past decade or so, Harry Fritzius’ paintings and collages have been a well-kept Bay Area secret, more talked and written about than seen. He had his first show last April, a little retrospective at the Nelson Gallery of the University of California, Davis. His pictures are deep and dark and dexterous. They have a lot of nerve. A motto for them could be drawn from the W. H. Auden poem that begins, “About suffering they were never wrong/The old masters,” except that for Fritzius the “human position” is lugubrious and less succinct than the one in Auden’s poem. He does old master quotations,

  • Robert Hudson

    Robert Hudson is now 47 years old. If you were looking for a clear overview of his progress, this exhibition of 24 years’ work was small help. The immense selection was too large for the allotted space. A jumble effect predominated, and a general fractiousness ensued. Because jumble is inherent in the work, its doubling was unfortunate. Hudson tends to generalize his materials, and the show tended to generalize his art, especially in terms of color. There were sculptures, paintings, combines and constructions, drawings with and without collage, and ceramics ensconced in vitrines. The overall