Constance Perkins

  • “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

  • James Yoko and John Olt

    Absorbed with the images of reflected light, James Yoko, a Dayton, Ohio painter, is slowly evolving an aesthetic that may in time prove highly effectual. His allegiance is now torn between the experimental uses of collage and the painterly qualities of Monet. The Abstract Impressionist pieces shown date back to 1959 when, as in such canvases as Shadow in a Pool, the artist was working with a short hatching brush stroke that built into vertical rhythms of color, usually complementary, occasionally breaking into a full range of hues. The rhythms continued in subtle variations until in Image of

  • Group Show

    Local artists are joined by three Europeans in a group show at the Frank Perls Gallery. Interest centers on two recent paintings by Sam Amato whose work has been undergoing considerable change of late. Still transitional, Interior With Standing Figure is the more fully realized of the two. Its Fauve pattern has real vitality. William Brice continues his concentration on the figure. Although an excellent draughtsman, there are some painterly passages in his Figures and Sea No. 2 that do not articulate form as consistently as might be desired. There is greater coherence in the frankly romantic

  • Fernando Farulli

    This last winter Barbara Burke Lang was responsible for bringing the work of the Italian painter Fernando Farulli to the Manhattan Galleries for his first showing in this country. In late September he will be seen again in a one-man exhibition of his most recent drawings and paintings. The half dozen pieces at the gallery now are by far the most interesting works to be seen there. Farulli was born in Florence in 1923. Although he admires Jackson Pollock and has closely observed Picasso, his own spirit is basically humanistic, making him more in accord emotionally with the French Fauves.

  • Robert Johnson

    The excellent space available in this new artists cooperative gallery in Pasadena accommodates unusually well the large and often very handsome paintings of Robert Johnson. Seldom, outside of a museum, is it possible to view in ease a comprehensive exhibition of this kind. Almost in anticipation of the opportunity to be adequately shown, Robert Johnson seems to have achieved a new maturity and sureness of expression. The thin color he has used for some time flows freely through great relaxed areas of space and the circle form that began to emerge a year or more ago has become a convincing image.

  • Kurt Schwitters

    The position of Kurt Schwitters in the evolution of the art of collage and its relation to the Dada movement has been confused both in his own time and by the many artists today who, consciously or unconsciously, do homage to him. For since Schwitters was a part of, and at the same time distinct from, the many revolutionary movements of his time, his art has various overtones of meaning. Much is clarified with the opportunity to see a comprehensive exhibition of his works, the first to be made available to the Western United States. To the major retrospective exhibition selection by the Museum

  • Charles Frazier

    The unusual imagery of Charles Frazier has, particularly in his most recent bronzes, evolved into an unique fusion of idea and material that goes beyond the art of assemblage to which it technically belongs. Couched in terms of childhood fantasy, his statements are direct, lucid and often powerful. Sometimes prophetic, sometimes poetic, sometimes merely fanciful, he is not afraid of running the risk of sentimentality yet remains within the limits of sentiment. Here, as with Chagall (although otherwise there is little similarity to be drawn) his imagery has the vitality of the uninhibited and

  • Bruce Conner

    Suspended between the surreal and the erotic, the assemblages of Bruce Conner are in the style we have come to associate with him for some time now. Whether bitter, tinged with pathos, or of a rococo mood, all of the pieces deal in one way or another with the decay of life. However effective the assemblages may be to a limited audience, the artist does run the risk of redundancy in both theme and material. Decay can in itself decay, and one wonders what would become of the art of that decay should Conner ever desert the dusty attic and the broken chest in which he finds the tattered fabrics,

  • “Collage-Artists in California”

    The exhibition, organized by Walter Hopps in conjunction with the Kurt Schwitters retrospective, features the work of three widely disparate artists. A fourth wall of the gallery is devoted to some fifty-two examples of collage, providing one defines that term in its broadest sense. Of the three given special prominence in the show, William Dole from the University of California at Santa Barbara is the closest to the aesthetics of Schwitters. His highly refined and subtly restrained compositions employ the carefully selected papers, the bits borrowed from typography and the fragments of the