Constance Perkins

  • “30 Friends”

    The showing is the first of a series of exhibitions of works by friends of the Los Angeles Art Association who have donated to the association’s auctions and thereby helped realize its exhibition program. The roster of artists included is dominated by names of long standing in the area. The result is an exhibition of generally consistently good canvases, each giving that which we have come to expect. Therein lies the limitation of the show for, although we may vehemently denounce the dangers of experimenta­tion and shock for their own sakes, the vitality of any art form is to be found in its

  • Schyler Standish

    The oil paintings by Schyler Standish are too small to be evaluated in terms other than as sketches, but within such a frame of reference, there is a wide spread of experience represented. Many of the figure pieces employ a rather dry technique, with care­fully modeled form and an inclination toward academic painting yet with a po­tential––if a sizeable studio piece were attempted––beyond that which is gen­erally seen today. More exciting are a number of landscapes done in heavy im­pasto that suggest a simplification of nature in relatively abstract-expression­ist terms. B_aldwin Hills_ utilizes

  • “American Prints Today—1962”

    The consistent high caliber of work that marked the first multiple print exhibition of the Print Council of America three years ago is maintained in this, its second effort. The careful consideration given to the selection of works led the Print Council to abandon its earlier plan for a proportioned geographical representation of artists in favor of one based purely on excellence. The fifty-five prints, representing forty-eight artists, allow for a comparative study of printmaking today. The experimental fervor that characterized the beginnings of a kind of renaissance in printmaking a few years

  • Ariel Parkinson, Harry Lieberman

    Although both paint within the broad classification of Romanticism, there is little ground on which the works of Ariel Parkinson and Harry Lieberman may be compared. For the eighty-five year old Lieberman, painting is the renewal of his own spiritual relations to the traditions of the Chassidic Jews of his Polish homeland and his youth. His pictorial tales involve us in the teachings of the rabbis as well as in the stories of the Old Testament. Some are as familiar as Elijah and the Mantle (II Kings, 2). Many are unfamiliar and need translation. All are told with the directness of an honest man

  • Giovanni de Angelis, Matt Kahn

    The young Giovanni de Angelis is a sculptor but it is his ink and wash drawings that share exhibition space with Matt Kahn at the Raymond Burr Gallery. De Angelis, now twenty-four, has technical assurance. Coming from the island of Ischia, he borrows heavily from his Italian compatriot, Marino Marini, but even more heavily from Matisse. At least it is a rhythmic formalism that de Angelis uses to transform the lonely and desperate dancers and cavaliers of Marini into hedonistic images, relieves of their existential anxiety. Matt Kahn from Stanford is more closely related to the 19th century French

  • “Recent Acquisitions”

    The selective eye of Felix Landau, which has characterized his gallery choices for some time, is again evident in the exhibition of Recent Acquisitions. To single out outstanding works is to admit honestly to personal choice; even so, exclusion is difficult. There is a Lachaise pencil drawing, Female Nude, and a Henry Moore, Study: Heads in water color and ink. Both have tremendous sculptural form, suggested by different means but equal­ly enthralling. There are two fine Ben Nicholson pieces, a 1953 oil and pencil on wood and an oil wash, September 1960 which echoes much of Ozenfant. There are

  • Bettina Brendel

    Bettina Brendel, who was born in Luneburg, was invited to show with the first group of abstract painters in post-war Germany in 1951. That same year she came to the United States. Her canvases at the Pasadena Art Museum date from 1960 when she was involved in an over-all horizontal and vertical orientation of rectangular screen-like areas. The ground was flat and the negative space almost non­existent. In 1961, particularly in the “Density” series, the screen pattern be­comes one of sticks in tension. In Den­sity VII there begins a kind of re­versal in the ground where color areas and pattern

  • Arleen Goldberg and Maxwell Hendler

    Arleen Goldberg and Maxwell Hendler form a man-and-­wife team for exhibition at the Ceeje Gallery. Both come out of the graduate school of the University of California at Los Angeles, both are concerned with the image and both have merit in the direct boldness of statement to be found in their painting. Of the two, there is greater consistency in the work of Arleen Goldberg even though she has many problems yet to solve. The vitality of color and vigor of painting, natural assets of the artist, do not compensate for a lack of structure. Curiously one is reminded of Matisse but in a maverick

  • Ralph Johnson and Dorothy Houstoun

    The first one­-man show in Los Angeles of the works of Ralph Johnson is a little disappoint­ing, probably because it has caught the artist in a period of transition. The Burning Bush of 1960 is a fine canvas; against it, most of the 1962 paintings are less convincing. Ralph Johnson has, for some time, taken his inspiration from nature but whereas the relation to the physical world was, in the earlier works, a tenuous one, it is now more immediate. It is in moving away from the almost totally abstract toward a condensation of the particular that the artist has been faced with new issues.

  • Group Show

    This group show is uneven. Of some interest are the rather bold Impressionist and Post-Impressionist (Cézanne) related oils by Charles Ranson, a teacher of English History at Yuma, Arizona. Es­sentially a statement in color, the rather fresh Figure by Walter Quirt of the University of Minnesota deserves some attention as a water color sketch. Ray Moyer’s New York success could be at­tributed more to fashion than merit. There are others but interest centers on the featured work of William Dole and Marie-Anne Poniatowska. Perhaps the most impressive of Dole’s works here is Sign for Foggy Night.

  • “101 Masterpieces of American Primitive Painting”

    Sponsored by the Municipal Art Patrons in association with the American Federation of Arts, the Garbisch Collection makes available a comprehensive study of American primitive painting of the 18th and 19th centuries. It allows us to stop and ask why American primitive painting has grown in popularity in the past decade, to become a national fad. There are undoubtedly many reasons that are extraneous to a consideration of the art works themselves but there are also valid reasons that are related directly to this folk art. Undeniably, it presents a social and cultural history—a purpose served by

  • Recent Acquisitions and Gallery Artists

    Mr. Acosta has something of a potpourri of artists represented in his Recent Acquisitions and Gallery Artists exhibition. Introducing the show are a handsome Modigliani Portrait d’une Jeune Femme (1917–1918) and a fine Braque Nature Morte of 1943. There are three Dufy paintings: La Baie de Ste. Addresse (oil, 1924) holds the usual charm of rich color and casual calligraphy; Bateaux (watercolor, 1924) has less freedom; Baigneusses (gouache and pastel) is a playful reference to Matisse’s Dance in which Dufy translates the Bacchanalian circle of celebrants into buoyant swimmers. There is an excellent