print February 1966

Coar, Heinecken, Rink

Imagination and ability combined make up this superb exhibit of art-photography. In the black and white prints of Robert Heinecken is manifested the most creative and versatile approach to the photography medium. In attempting to “trigger responses on associative as well as on formal levels,” as the artist has stated, Heinecken produces surreal and neo-Dada compositions through innumerable technical devices. Most often incongruous images are juxtaposed in a variety of ways: by fragmenting then reorganizing segments of a single photo, as in the multiple solution puzzles; by combining a number of

print February 1966

English Monumental Brass Rubbings

Both from the collection of and made by Mrs. Max Schaeffer are these black crayon-like rubbings from the 13th-to-17th-century brass effigies mounted on the flat stone tomb slabs of England. Very decorated figures ranging in size from greater-than-life (the oldest) to about one-half life size (the most recent), the rubbings are of historical more than esthetic interest, since the tracing technique is completely lacking in creativity. The figures themselves are most interesting for their costuming and iconographical selection.

—Charleen Steen

print February 1966

Roger Darricarrere

Although a wide variety of media are shown, Darricarrere’s primary one is obviously stained glass. Three large windows plus one mammoth colored drawing to be made into a stained glass window-wall dominate the exhibit. Although religious in theme and content, the formal design of these works takes precedence over the symbols. Color is brilliant, and the linear divisions produce swirling masses. There are also occasional textural variations. The resultant compositions make a striking architectural complement.

Also included in the show are two oil paintings, one metal sculpture and assorted drawings

print January 1966

“Arts of Southern California XVI: Prints”

Representative of the finest graphic art work of the Southland, this exhibition presents 69 selections by invited artists recommended by the more important local art museums and schools. (And indeed it proves that the professional museum people know what they’re talking about!) All varieties of intaglio, lithographs, serigraphs and woodblock prints are included, although the latter two media are relatively sparse.

Most of the noted printmakers as well as some talented newcomers are included, and their products are truly breathtaking. By developing the intaglio techniques particularly to their

print January 1966

Csengeri, Dillingham And Villumsons

These three painters share the upstairs gallery area of the Museum, and their very different approaches combine to make a well balanced exhibit. Clearly strongest of the trio is George Csengeri who paints large, somber-toned, roughly surfaced oils, often including collage elements. Forms are kept simple, sometimes open sometimes closed, and texture plays an important role. Often a kind of suspended or floating quality is achieved, although never departing from the essentially earthy appeal.

Orval Dillingham’s paintings are a rather weak cross between San Francisco figurative and Pop Art schools

print January 1966

“A New Generation of Latin American Artists”

On loan from the Pan American Union are these paintings and drawings by about 20 contemporary Latin American artists. Although most of the selections are quite professionally executed in styles ranging from Abstract Expressionism to semi-Pop and Op, there was a notable lack of any specifically Latin American iconography or personality. Although this does not negate the esthetic validity of the works, it is nevertheless rather sad to see such a complete severance from the indigenous cultures. Interestingly, some of the most impressive examples are tied to their cultures. Distorted, slightly

print January 1966

First Annual Redondo Beach Art Festival

Thanks to nearly $3000 in prize money, over 2200 artists from as far as Michigan and Florida contributed to this mammoth show. Limiting the displayed selections to 750, Judges Lorser Feitelson, Roger Kuntz and Ben Abril then allotted the prizes with an unfortunate inconsistency of taste and standards. Particularly disappointing was the big purchase prize winner Chandelier by Robert Frame, executed in the shallow slush-and-scrape technique which has become his formula. Overlooked were many excellent works by long-time California professionals such as Ynez Johnston, Leonard Edmondson, Frederick

print January 1966

Faculty Exhibit

This display of groupings of arts and crafts by faculty members is relatively competent but thoroughly lacking in great inspiration or genius. Among the better selections are weathered wood-and-found-object sculptures by Jon Grider; plane-conscious, structural drawings by John Cassone; bold, Abstract Expressionist paintings by Nancy Wildermuth Webber; imaginative but short-on-control ceramics by Frank Metranga; and pleasing jewelry and pottery by Elaine Katzer.

––Charleen Steen