Carl Belz

  • Michael Mazur

    Michael Mazur is well known as a printmaker, though largely through his earlier work, which is essentially “humanist” in orientation. During the past three years he has moved decisively away from that position and his imagery has undeniably become more personal. The shift, moreover, has been accompanied by a change of media, from prints to sculpture and painting. Apparently Mazur wanted more room in which to maneuver. He continued to work with figurative images—body-type contour drawings, anatomical segments seen from sharply elevated or otherwise offbeat positions, and objects from domestic

  • “The Boston Band”

    As its title suggests, “The Boston Band” is a group show. The band includes painters John Ashworth, Carol Beckwith, Dana Chandler, Elizabeth Dworkin, Carl Palazzolo, Katherine Porter, and Andrew Tavarelli; the sculptors are Elizabeth Clark, David Kibbey, Christopher Sprout, Anthony Thompson, and Dan Wills. Generally, the painters here are both more advanced and more successful than the sculptors, the latter suffering from the kind of “new materials new technology” malaise that has become increasingly pervasive since the late sixties. David Kibbey might be an exception, although it’s hard to draw

  • Salon 70

    Salon 70 is an exhibition of fifty painters and sculptors, most of whom live and work in and around Boston. The majority are also relatively young (late 20s, early 30s) and unknown outside the immediate area. Each artist is represented by four works, which, given the restricted space of the gallery, means that the pieces are generally small and are literally stacked from floor to ceiling. Hence, the idea of a Salon.

    The exhibition itself is a kind of bizarre phenomenon, a mélange of things funky, Surrealist, Minimal, Pop, social, figurative, and so forth. If the show is any indication, and I tend

  • Richard Pousette-Dart

    POUSETTE-DART, of course, has been at it for a long time. His show at Obelisk, one of the more ambitious galleries on Newbury Street, includes work from the past six or seven years as well as a couple of very recent paintings. All of the pieces exhibitthe artist’s typically rich color-andlight surface, one that I occasionally find physically aggressive and even forbidding. The same is true, I think, of the imagery, which generally consists of single bursts of light that vaporize into their surrounding fields. Frequently, for instance in Night Presence . . . Radiance, Burning III, the burst seems

  • James Rosati

    James Rosati’s last one-man exhibition took place in 1962. His work from the past six years, including drawings, reliefs, “studies” for monumental outdoor pieces, and several full-size realizations of those studies, comprises a large exhibition recently organized by William Seitz for the Rose Art Museum at Brandeis University. During 1970, the show will travel to the Albright-Knox Gallery in Buffalo, the Yale University Art Gallery, and the Marlborough-Gerson Gallery in New York.

    Both the studies and their outdoor counterparts consist of groupings of quasi-geometric chunks or bars of metal (

  • History of Modern Art: Painting, Sculpture, Architecture

    History of Modern Art: Painting, Sculpture, Architecture. by H. H. Arnason, Harry N. Abrams, New York, 1968

    H. H. Arnason’s History of Modern Art is guaranteed to become a bestselling textbook. In terms of the college market, the book has all of the “proper” ingredients: it is generously illustrated with black and white reproductions and colorplates of the highest quality; it contains more information on more painters, sculptors and architects from more countries than any other single volume published to date; it pursues its subject from the beginning of the 19th century to the late 1960s; finally,