Dennis Adrian

  • Darby Bannard

    Darby Bannard’s exhibition at the Tibor de Nagy Gallery consists of six large horizontal canvases of identical size. Immaculate and precise, the compositions are similar aggregations of irregular polygons whose sides are arcs of immense circles, circles much larger than any single canvas. Some looking at the pictures makes it clear that each composition is in fact geometrically so determined. On this conceptual basis rests the surface design of anonymous smooth color areas whose tonal harmony sets the mood of each painting.

    Four of the pictures are members of a series titled Blue Florida. Hung

  • Maryan

    Maryan’s recent exhibition of paintings and lithographs at the Allan Frumkin Gallery is perhaps the most dazzling of his hallucinatory groups of personages seen here in several years. While Maryan’s work has always been notable for its level of sustained inventiveness and power to command acceptance as a penetrating look into modes of being central to human experience, in the past he has brought this about alternatively by a super-clear visionary exposition of his fantasy or, as in his last show, with such violence and ferocity that the paintings seemed to preserve the imprint of a collision

  • Martial Raysse

    The Martial Raysse exhibition now at the Iolas Gallery is another engrossing example of the misconstruction of the New World by the Old. M. Raysse utilizes American-made artistic and technical inventions, but makes his presentations with an endearing quality and giddiness that can only be French. There are three kinds of works in the show; paintings which are made up of separate rectangular panels of identical size, constructions of plastic and neon, and intarsia-like reliefs of flat layers of colored plastic. Also, at least one of the paintings has a neon ornament.

    The paintings utilize blown

  • Lee Lozano

    Lee Lozano’s group of five big paintings at the Bianchini Gallery provides an opportunity to see, in a well-developed form, some recent ramifications of a broad current in American art today, that of commitment to a reductive, abstract mode of expression which nonetheless permits a very rich kind of pictorial experience. In Miss Lozano’s work there is not the usual situation of preposterous inflation of modest formal ideas for the sake of a kind of absurd rhetoric, but a genuine and polished ability to compress, within a deliberately restricted range of forms, a ferment of energetic perception.

  • Harvey Quaytman

    At the Royal Marks Gallery, Harvey Quaytman shows a series of large recent paintings which are more or less of the current “gestural abstraction” variety; that is to say, the image consists of a few large relaxed forms seen against a ground of unsized bare canvas. These forms seem to be the result of thinnish liquid pigment being allowed to extend itself in some direction under partial control by the artist. Quaytman’s manipulations go considerably further than this familiar process to give his works several novel features, both perceptual and technical.

    First, his color, a sober array of browns,

  • Brian O’Doherty

    Brian O’Doherty’s exhibition at the Byron Gallery is another of the manicured performances that seem to be the special prerogative of those who know a great deal about art, a great deal about artists, a great many artists, a great deal about the art world, and a very great deal about how to get along in the art world. All of these considerations are wantonly thrust upon the observer here, without quarter or mercy.

    Entering the gallery, one is confronted with a framed electrocardiograph of Marcel Duchamp, with Mr. O’Doherty’s name in the space indicated for “doctor.” This object, so rich in

  • Wayne Thiebaud

    These works present nothing new to one’s notion of Thiebaud’s achievement, but they do maintain the level of guarded professionalism that has marked his last two shows. The excitement and sense of discovery present in his New York debut do not, unfortunately, reappear this time.

    At this point, it seems that Thiebaud has decided to perfect his manner and leave all considerations of style alone, at least as far as painting itself goes. It is only his subjects that have a style, or styles, in the sense of “period.” Presenting (as he almost invariably does) a centrally placed image against a white

  • Willem De Kooning

    This month the Allan Stone Gallery shows a group of recent de Koonings, mostly drawings, together with a few medium-sized oils. All deal with women in the mocking and provocative guise combining sexuality and aggressiveness into possession that Euripides treated of in The Bacchae. Most of the drawings are in charcoal or black chalk and show a return to linear concerns that reflect the general firming up of forms detectable in de Kooning’s work since 1962. Big swipes with the side of the chalk still give the expressive blurring that contributed so much brio to the earlier Women of nearly fifteen

  • Robert Goodnough

    At Tibor De Nagy Robert Goodnough’s current show marks another of his periodic turns to statements of great reduction and economy. Goodnough’s work for some years has been involved with the manipulation of formal elements stemming from the simplistic phase of later Cubism, presented either as abstract constructs of great density and impact or as elaborated compositions using these same elements to deal with a generalized subject of some kind. Both of these approaches have retained a Spartan aversion to decorative richness through a range of colors which never stray far from primary hues plus

  • Claes Oldenburg

    Claes Oldenburg’s current show at Janis presents another maddeningly sensible group of his metamorphosed objects. More than any other artist currently engaged with the fascinating perplexities of the simulacrum, Oldenburg consistently follows through with each of his extraordinary images to a definitive form. He is so keenly aware of the vast number of conventional associations we all make with certain materials and with even the isolated qualities of materials that a frank disregard of the function of almost any object can lead him to create its familiar form in a material which has only one

  • Leland Bell

    Leland Bell’s new paintings at the Robert Schoelkopf Gallery continue to score more deeply the channels his expression has run in now for some years. His genres are standard ones; still life, the nude, and portraits. For Bell, these subjects represent a rough kind of organizational construct wherein he gets down to the real business at hand; the structuring of three-dimensional form in its essential aspect. Any subject will do since the appearances surrounding him are but things to be whittled down with the brush and reformed into elements manageable in the context of exclusively pictorial

  • Peter Saul

    In his current exhibition at the Allan Frumkin Gallery Peter Saul shows a series of very large drawings in colored inks and crayons. Skirmishing with the topics of Vietnam and the wild vulgarities of present-day American life, these drawings reach a pitch of eye-blistering ferocity touched on in his show of oils last season.

    Saul’s artistic vision combines a manic wackiness of formal invention with a scatological imagery so ingenious and hysterically varied as to invite comparison with the most colorful tableaux described in Sade’s Justine. Saul’s characters however are all in modern dress; each