Constance Perkins

  • “The Human Figure”

    The exhibition of some forty-four painters and eleven sculptors is interesting in the variety of approaches shown. By the same token it lacks some of the impact that a mere restricted showing might have, or that the same show might have were a more conscious effort made to group together those styles that have some affinity with each other. As it is, one takes in, in one breath so to speak, such disparate works as those that range from the traditional and near-illustrational modes of representation to what could better be called pure action painting where the image, to all intents and purposes,

  • Harrison McIntosh

    The refinement and serenity of the simple forms that have been produced by this southern California ceramist echo the long tradition of the art of the potter. The dull glazes of subtle olive to brown, grey flecked with brown, dark blue, the only slight variations of simple decorative motifs and the recapitulations of the vase, bottle and compote forms mark Harrison McIntosh as a genuine craftsman concerned with the essence of beauty that can be expressed only by restraint and understatement. Even in the rare instances when McIntosh employs a freely brushed decorative motif that reflects the New

  • “Michael Bastian Looks at Environment”

    A single red ceiling light in a blacked out hall reveals piles of styrofoam chips and plastic garment bags, some of which have been tied to the pillars of the room in a manner resembling tatter sails. A few odd objects are scattered about. One, a fragment of a newspaper headline, “Dr. Alvarez Discusses Problems of Insomnia,” is probably the most revealing of what Michael Bastian had in mind in putting his experiment together. Even as anti-art it cannot be taken seriously. Vital as that movement is at its best, in its lesser efforts it can be very bad. Ingenuity is more rare than the artistic

  • John Chamberlain

    Although it is from the scrap-pile of old automobiles that John Chamberlain gets most of the sculptural material for his assemblages, it is an exquisite junk yard, full of color and contrasting elements. The found object, worked to produce new images, retains at the same time its original meaning of fender, bumper and engine fragment, and even the connotation of the impact of a ruinous collision. Yet the carefree fitting together of these remains gives to them a new existence of a crass material nature that in itself is overpowering. The impact of accident, the essential ingredient of action

  • Frederick Wight

    Highly personal and outside current contemporary expression, the recent paintings of Frederick Wight follow three distinct themes. There are the figure pieces: “Two Figures, Four Figures.” Perhaps these are the most disturbing of all the works for each can be discussed only in terms of coexisting polarities of thought and feeling. Bound together in pulsating rhythms, the figures lie motionless and apart, heavy and yet floating without gravity, existing in a timeless immediacy, a cold romantic color prevailing. The moon series are another thing. Here the illusion of fantasy is more constant and

  • “Icons, Bultos and Retablos: A Collection of Primitive Paintings and Sculpture”

    Some of the most sophisticated and refined workmanship, along with the most crudely primitive, can be found in this collection of icons, bultos and retablos. The greatest variation occurs in the religious expressions of the Southwest Indians. Here the usual material is wood although gesso may be combined with it, and tin too is used either as a ground or as a decorative embellishment. These votive pieces, bultos and retablos, are expressions of the Catholic faith transposed by the intense emotional and, in many instances, macabre nature of the Indian people, into ecstatic images of unique power.

  • Jack Sonenberg

    As a New York artist, Jack Sonenberg is probably more widely known for his woodcuts, yet his graphic work has always been related to his efforts as a painter. In both his drawings and paintings seen at the Feingarten Galleries there is an extremely fine sensitivity to surface textures. In the oils the color is keyed very low, achieving almost a dull metallic tonality in which bits of red, blue, yellow or green are all the richer because of their restraint. In “Sounding I” the subtle variations of ground are broken only by the hint of a calligraphic form that appears in a slightly raised surface.

  • “Christmas Exhibit”

    A number of the small but fine paintings by the European masters of our century, seen last summer at the Edgardo Acosta Gallery, are again included in its “Christmas Exhibit.” Featured is a “Landscape” (1924–25) by de Vlaminck, but still available are Braque’s “Still Life with Pitcher” (1943), an oil and a watercolor by Dufy, two gouache and watercolor pieces by Chagall and Severini’s “Le Cygne Noir” (1952). More contemporary are works by Antoni Clave and Claude Venard whose “Locomotive,” although low in color key and less shocking, bears some of the “sophisticated cartoon” qualities of Dubuffet’s

  • Paul Sarkisian

    Recent paintings by Paul Sarkisian achieve an intense vitality of both color and surface structure that reflects a zealous enthusiasm for the physical realities of pigment. Working on the rough side of masonite on which he lays a ground, most often white, Sarkisian allows some color areas to ooze their way through undefined space, while other areas, sometimes built up with filler, form bold reliefs deep enough to cast shadow. Only occasionally do these areas take on the character of form; more often they retain the quality of the vigor of application. At times this vigor becomes obtrusive but,

  • Joanne Calocerinos

    The paintings of Joanne Calocerinos are characterized by various interlocking forms that are fashioned from bands of narrow ribbon-like strips of carefully gradated color. The absolute control of pigment, the geometrically inclined style, and particularly the holding of the color to accurate variations of tints and shades of either a monochromatic or analogous system, incline the viewer to react to the works in terms of the abstract classicists. Yet the potential “pretty color,” the excessive interwinding of form and, in the end, the titles (“The Testimony of a Soul,” “To a Nightingale,”

  • Keith Crown

    A bril­liant patterning of Fauve color, a curious combination of the communication of the immediacy of experience along with the conscious analysis of composition, and an absorption with themes of nature––sunsets, tide pools, sunflowers, mus­tard and weeds––characterize the re­cent work of Keith Crown. What threat­ens through color to become a restless and nerve-racking experience, resolves itself into a pleasantly exciting explora­tion of a new dimension of the natural world. The containment of the experi­ence within an ordered esthetic is ac­complished by a structural geometry which has in it

  • Edward Reep

    Few painters are as capable as Edward Reep is in maintaining a middle of the road position between today’s experimental and traditional forms of painting, without becoming static or repetitive. Granted, Reep does adventure occasionally into what would appear to be pure abstraction––Solitude is such (al­though it may have derived from the object)––and in so doing communicates most effectively. But the esthetic means employed are familiar ones derived from the experiments of the first part of the century. Whether using the image or not, Reep refers to the natural world or to common experiences