Bruce Boice

  • Jim Dine

    Jim Dine’s work once seemed to lie somewhere between the constellations of Johns-Rauschenberg and Pop art. His persistent use of objects in, or dangling from paintings put him on the side of Johns and Rauschenberg, while his subject matter, such as neckties, shoes, toothbrushes, and red bandanas, often brought him closer to Pop imagery. This is not to establish Johns-Rauschenberg and Pop art as opposing poles, but only to establish Dine’s work as generally existing between two major forces. Dine’s earlier work is probably closest to Oldenburg. Their work shares almost no common physical

  • Lewis W. Hine and George A. Tice

    There is a glaring difference between the photographs of Lewis W. Hine and George A. Tice, shown in separate galleries at Witkin. The difference is indicative of photography’s problems and possibilities. Hine’s photographs are documentary, playing on our acceptance of the photograph as a reliable and accurate depiction of reality. Clearly, the presentation of a kind of social reality was the aim and achievement of Lewis Hine. The photographs shown at Witkin were made when Hine worked for The National Child Labor Committee in New York City, from 1908–30. All of these photographs are of workers

  • Lynton Wells

    Lynton Wells’ work is a kind of synthesis of photography and painting. In his show at Cunningham Ward, there are four large four-panel works, and two smaller single-panel works which appear to be sketches. Wells’ works are large photographic prints made on photosensitized linen, stretched on a frame, and partially painted with black or white acrylic. The subjects photographed are a studio wall, and normal studio paraphernalia, such as ladders, reflector lamps, wires, and huge sheets of clear plastic. There is no special sense of the artist’s studio about the works, or of biography or personal

  • Lynda Benglis

    Lynda Benglis showed videotapes at Paula Cooper’s which seemed simultaneously boring, interesting, and funny. But there’s no point getting entangled trying to explain such an apparently contradictory response. Most of the time, the content of Benglis’ videotapes is another monitor screen, which sometimes shows still another monitor screen. Much of what appears on the screens is the visual static which occurs when a monitor is on, but the tape has run out. However in these tapes, the tape hasn’t necessarily run out at all. Usually the visual static is at one remove or more from the machine we’re

  • Jan Dibbets: The Photograph and the Photographed

    JAN DIBBETS, until 1967, was a painter of essentially Minimalist serial paintings concerned with the illusion of perspective as it operates on simple geometric shapes, and he sees his subsequent work in terms of a progression from these early paintings. Clearly there is a connection between these paintings and the “Perspective Corrections” that followed, but reference to his later work as stemming from his having been a painter seems a retrospective view shaped, perhaps in part, by an orneriness and a desire to separate himself from a Conceptual label. In 1967, Dibbets began transferring what

  • Dorothea Rockburne

    Dorothea Rockburne’s new work really is new work. Her work over the last year has undergone such a consistent and complete change that the only continuity maintained with earlier work is the continued use of paper as a physical material forming the work rather than simply receiving the forms of the work. The most significant difference in her new work Drawing Which Makes Itself at Bykert is the replacement of set theory as a structuring principle imposed on the work from without with a logic which structures the work entirely from within it, and as such, the structure of the work and the work

  • Larry Bell

    Larry Bell showed two works at Pace similar to those shown last year in which his now characteristic vacuum-plated glass panes stand vertically at right angles on the floor. As has often been described, Bell’s vacuum-plating process results in a pane of glass which is transparent on the left side, for example, and is a mirror on the right side; between those two extremes is a confusing middle ground in which the transparent almost imperceptibly becomes mirror so that the center portion of the glass is both at once. To move from the mirrored portion of the glass, in which one sees a bright clear

  • Robert Mangold

    Since the mid-’60s, Robert Mangold’s art has been unusually consistent, without the degree of repetition that so much consistency generally implies. Like his paintings, each shift in his progress has been subtle and complex. The early sprayed Masonite panels of the “Area” paintings can be thought of as examples of hard Minimalist facts in which lines were the consequent of the physical limits of surfaces. Or, they can be thought of as logical sets in which the whole for each painting was given and known even when only a fragment of the whole was actually present as the work: Given the existence

  • Robert Zakanych

    Robert Zakanych’s paintings at Cunningham Ward are about normal size in current terms, meaning large but not that large, and they look something like unfinished wallpaper. The canvases are divided into large regular grids which don’t fit the paintings evenly but are, in a sense, cropped, and within or overlaid on the grids are regularly repeated patterns such as cloverleafs, circles, and uniform stacked wavy bands. In all four of the paintings the center portions are finished, at least comparatively, in that the patterns have been completely filled in, covering the white canvas; the areas moving

  • William Scott

    It is difficult to look at William Scott’s large show of paintings at Martha Jackson and not think at all of Robert Motherwell, which seems to mean, if only implicitly, thinking of Matisse and Miró as well. There is no problem distinguishing Scott’s paintings from theirs, but the particular way representational shapes and still-life situations are reduced to simple abstract forms, and in many paintings, the way the paint is handled, the kind of line and brushwork around a line is so close to those painters that comparison and the sense of a certain degree of derivation seems to me unavoidable.

  • Laurace James

    Laurace James continues to work with wood, ropes, pulleys, rocks, and in her show at A.I.R., bricks as well. In a sense, two of the three works in her show are one work by being isolated sections of a “separated diptych.” Both of the works of the diptych are essentially the same: One brick and a bundle of three bricks are suspended at the opposite ends of a rope which is itself suspended by a hinged set of vertical planks against the wall and a complex of pulleys. The bricks attain a suspended balance in just about any position but the most extreme ones, in which case the bundle of three bricks

  • Joseph Kosuth: 2 Shows

    JOSEPH KOSUTH SHOWED EARLY works from 1965–67 at Castelli downtown and his recent Ninth Investigation-Proposition 1 at the uptown Castelli gallery late last year. The early work under the general title Protoinvestigations all deals with language, but could be broken down into work dealing explicitly with the relation of language to the physical world, and work dealing primarily with language and only by extension with the physical world. This latter group of works had the form of the well-known white on black photographic blow-ups of dictionary definitions, in this case of the words “red,” “

  • Art & Language

    Terry Atkinson, David Bainbridge, Michael Baldwin, Harold Hurrell, Joseph Kosuth, Art & Language (Cologne, Germany: Du Mont, 1972).

    Quadruplicity drinks procrastination.

    —Bertrand Russell

    Despite the rather thrasonical aspects of the “air-conditioning” situation, it might be said to siphon off as a protasis for an inverted Eurekaism.

    —Terry Atkinson and Michael Baldwin

    It is appropriate that to speak of Art & Language is to immediately get entangled in a word confusion: Art & Language is the name of a group of artists whose main activity is the publication of a journal titled Art-Language; the

  • Eva Hesse

    Once in the grip of the story of Eva Hesse, and just about everyone who knows her name knows her story, it is difficult to separate her art from her life story, and even more so by the evidence for their inseparability presented in the diaries she left and in Robert Pincus-Witten’s writings which make convincing use of the diaries. The point is not that it is necessary to separate Hesse’s art from her biography nor to argue against the case which has been made for inseparability, but rather that the interest I find in her art is in the art and not from the perspective of her biography. Eva

  • Fred Sandback

    In his show at Weber, Fred Sandback continues to mark off corners of the gallery’s rooms by spanning them with elastic cord or by spanning them with hypothetical planes defined by elastic cords. Sandback has six pieces in this show, three of which amount to pairs of horizontal, parallel, colored elastic cords attached at each end to adjacent walls of a corner, and in two cases, the cords are parallel horizontally. The third case is a bit more interesting as the two cords are parallel diagonally. That is, the light blue cord about three feet closer to the corner intersection is also a few inches

  • Natalie Bieser

    Natalie Bieser’s work consists of tiny beads strung in clusters on threads which are suspended between two slight wooden strips fixed to the wall. In some of the works, the wooden strips are positioned vertically and parallel so that the two or three strands of thread simply hang loosely between them with the major clusters of beads gathering at the lowest point on the curve of the thread. In other works, the wooden strips are at right angles or crossed or simply in different positions forming different configurations and sometimes causing a gentle twist in the sequence of the strands of thread.

  • Stephen Greene

    Stephen Greene’s show, “25 Years of Drawing: 1947–1972” at the Zierler gallery, demonstrates that Greene has mastered conventional drawing skills in enough styles to qualify as an eclectic. Roughly a quarter of the 40 drawings in the show are Renaissance-ish multiple sketches or studies on a page in pencil, sanguine, and ink representing the years 1947–51. What Barbara Rose, in a brief catalogue essay, calls paying “homage to the old masters” seems more like trying to be an Oki Master. It is not that Greene’s early drawings are simply conventional figure studies, but that his use of medium,

  • After the Quality Problem

    WHILE QUALITY ASCRIPTIONS ARE MEANINGFUL only as emotive expressions in response to an art work, they say very little about that response of the speaker to the art work. And this holds as well for expressions, such as “the painting is good,” “I like the painting,” or “the painting is interesting.” Such expressions are no more than signals of approval accomplished just as effectively by the Roman signals “thumbs-up” or “thumbs-down”; but except as signals of approval these expressions say nothing, and as such, they hardly constitute discussion about art work or anyone’s response to it. To insist

  • Les Levine

    Les Levine’s Position occupied almost half of the downtown Fischbach Gallery, while selected video works, Bodyscape, an enormous aggregation of 150 photographs in six horizontal rows adding up to a full-length portrait of Levine “on its side,” and Landscape, another photographic work seemed to be there almost because a certain amount of space was left over from Position. Position is a sort of political art talent test. Photographs of windows were taken following certain rules regarding the place from which the photograph was made, such as standing as far to the right of the window as possible

  • Michael Snow

    Since Michael Snow’s reputation rests largely on his films, it is no surprise that about half of his show, “About 30 Works by Michael Snow” at the Center for Inter-American Relations, are films. I cannot comment on La Région Centrale as I haven’t yet seen it, and there isn’t much point in my writing about those films I have seen as Snow’s cinematic production has already been so thoroughly analyzed as to make my comments repetitious and naive. The rest of Snow’s art, that which more conventionally fits into a gallery situation, is not as powerful as his films but can be seen to show the same