Constance Perkins

  • Harry Sternberg

    Reflecting the styles and techniques of the ’30s, Harry Sternberg’s prints seem a bit out of date today. It must be rec­ognized, however, that Sternberg was primarily responsible for establishing standards that were necessary in order that the print processes could become what they are today, both commercially and as fine arts media. His “Serigraph Portrait Series” are documents of high craftsmanship as well as delightful re­cordings of many of the outstanding figures of the art world prior to World War II. In these caricatures, Sternberg emulates the style of the artist in a manner that adds

  • Pechstein, Münter, and Jawlensky

    German ex­pressionism, particularly its Fauvist-in­fluenced phases, continues to attract the contemporary art world. The period’s intense personal expression, character­ized primarily by its cacophonous colors and restless compositions, has peculiar cognitive value to many who are work­ing with the image today. The present showing of selected works by Pechstein, Münter, and Jawlensky is the first in a series of exhibitions planned at the Dal­zell Hatfield Galleries. Max Pechstein, who joined Die Brucke in 1906 after his return from Paris, retained much of the influence of the French school. Nude

  • Sidney Cordin

    Both fine in craftsmanship and refreshing in imagery, the sculpture of Sidney Gordin is indicative of the vitality that is still a part of our contemporary expression, threatened as it is with fad and fashion. Frankly two-dimensional and without objective reference, the free­standing pieces successively remind one of the Dancers from Angkor Vat, of Scythian and Sarmartian animal forms, of heavy globs of algae floating in stag­nant pools, of ancient sailing vessels and of Balinese shadow puppets. Most exciting are the hammered and welded bronzes in which organic nodules of flattened metal grow

  • John Mason

    Recent works by John Mason show the artist moving from the columnar sculptures with which he has been identified to a radically different and severely formal style. Mason has been concerned simul­taneously with inventions in both the Cross Form and the column or Ver­tical Sculpture. Particularly within the untitled vertical pieces there has been considerable variation: there are the totem-like structures; there are those that twist on their axes; there is the introduction of frontality; there are great rough units that are almost or­ganic in nature; there are even vaguely geometric shapes. In

  • Group Show

    The group show of a dozen artists pro­vides an excellent coverage of some very good painting being done today. New to the Los Angeles area is the work of James Suzuki, now teaching at the University of California at Berkeley. His Marco Polo’s Dream and his Shattuck and Woolsey are forceful statements in strong color that combine elements of strict control with areas of rapid action painting. Ohno, from Kyo­to, achieves an unusually sensitive ex­pression with a large burlap form on a delicate grey ground. Compatible in mood is the understatement of the Australian Frank Hodgkinson. Really exciting

  • Elliott Elgart

    Elliott Elgart chooses to paint the world of do­mestic activity that surrounds him: Sarah in Sunlight, Woman Ironing, Woman With Ham Sandwich, Seated Man, Interior With Two Figures. They are large canvases for the most part, most often conceived with a quick brushing. The tonality tends to be low except where sunlight breaks into a darkened interior or where areas of bold color arbitrarily maintain themselves, countering all illusion of depth that is implied in the linear perspec­tives. Throughout the several canvases there are many passages of good painting, of form articulated with a mini­mum

  • Group Show

    The list of artists shown is a lengthy one of persons well known to southern California: Rex Brandt, Paul Clemens, Phil Dike, George Gibson, Leonard Kes­ter, Emil Kosa, Jr., Maurice Logan, Roy Mason, Barse Miller, Douglass Parshall and Millard Sheets. Some of the most admirable painting is to be found in the work of Paul Clemens, one of the few capable portrait painters of this era. Eleanor in the Garden is a study of Mrs. Clemens. The sensitively-handled portrait is in straightforward, realistic terms without strain for effect. Although the canvas otherwise reflects the impressionism of a Renoir

  • C. H. Hertel and Susan Lautman Hertel

    In his recent paintings, C. H. Hertel turns to ancient China for his direct inspiration. The circles he explains are primarily man­dalas, cosmic diagrams; the hexagrams come from the I Ching, the Chinese Book of Divination of the Chou Dyn­n­asty. Outwardly, the relation is evident and goes even further in such pieces as Yu #2 where the general form is reminiscent of that of the ceremonial vessel. There is even a metallic patina quality to the paint and a reference to incised pattern from the use of both plastic wood and glue. How essentially Eastern the ideograms are differs wide­ly. As paintings

  • “Sculpture”

    The increasing local interest in the plastic arts is reflected in the opening of a permanent show room for contemporary sculpture at the Felix Landau Gallery. Particularly rewarding is the discovery that young sculptors are producing works of such technical and creative caliber that their inclusion in a group show of this sort complements the work of older artists of international reputation, adding new perspectives to the established orders. The impressive listing begins with Henry Moore, who is represented by a large bronze figure of undeniable power. It is one of Moore’s less abstract

  • “Sculpture II”

    In this, the second in a series of small sculpture shows, interest is centered on a selection of works by Gaston Lachaise, most of which date from around 1930. Head of a Woman is the most typical. Other pieces reveal some of the eroticism and severe geometry of which the artist was capable. An interesting relationship exists between the Lachaise pieces and a series of small clay models by Elie Nadelman dated about 1920. Unexpectedly, there is also a stylistic compatibility established with works of both Alexander Calder and Isamu Noguchi, particularly in the latter’s abstract Tiger from 1952.

  • Roberto Gari and Jay Robinson

    Roberto Gari finds his subject matter in Italy, but only superficially. His decorative style and inclination toward romantic illustration remove the painting from any immediacy of experience of time or place. His color, derived from Impressionism, is at the same time arbitrary, in an attempt to create a sensuous canvas. A moderately heavy impasto, achieved through use of the palette knife, is combined with a descriptive line that is either brushed on or scratched through. On the whole, the works meet the demands of a popular market but offer little more. The draftsmanship is not articulate enough

  • Frank Sardisco

    Recent paintings by Frank Sardisco show that this young artist has matured rapidly over the last two and a half years. His search for a personal symbol, initially organic in form, is resolved but by no means exhausted. At the present his image usually involves a strong horizontal movement off of which ovoid or semi-rectangular forms work in tension. Often the order is a familiar one based on suprematist principles but the variations are subtle and fine. Occasionally traditional orders are broken. “The Tempest” is such a piece in which a kind of awkwardness of composition effectively implies