Dennis Adrian

  • Victor Vasarely

    Victor Vasarely, now showing at Janis, is seen this month in the most extensive of the one man shows he has had around town over the past few seasons. The success and interest of this exhibition are due to the varied facets of his art visible here; Vasarely has more irons in the fire than one might think, seeing only concentrated groups of a few works in a single key.

    Together, several such groupings in the present show outline the artist’s range from the painful positive-negative alternations of his intense black and white pictures to the Near-Eastern lyricism of a group of very recent works.

  • Eduardo Paolozzi

    Eduardo Paolozzi’s current exhibition at the Pace Gallery is certainly the strongest of his New York exhibitions to date. Having established a sound if controversial reputation in America on the basis of his earlier works, the intricately textured bronzes that were biomorphic assemblages of small machine parts, he reappears now a transformed artistic identity, more mature, fluent, muscular, and daring.

    His new pieces in chrome-plated steel or welded aluminum are still concerned with organic metaphors given in an industrial vocabulary, but do not, as before, seem accretions of mechanical debris

  • Arakawa

    At the new Dwan Gallery the Japanese-born painter Arakawa shows a series of diagrammatic works like those included in a group show at Sidney Janis’ a year or so ago. The flavor of all these works is unabashedly neo-Duchamp. Keeping himself within the limits of precise linear drawings in black on large primed canvases, the artist rings numerous changes on the peculiar teasing quality of blueprint-like images presented within the context of painting. The tickle here comes from the fact that where we expect to see an image of something as it appears, we see structural diagrams, particularly in plan

  • Dubuffet

    At the Saidenberg Gallery is a group of Dubuffet oils from 1963–65 which the artist groups under the provocative nonsense title of “L’Hourloupe.” More unified in style and approach than gallery exhibitions of this artist often are in America, this show reconstitutes by its coherence the pointed brilliance and magical wit of Dubuffet’s inventiveness at its best.

    Each painting is a mosaic of striped and solid forms outlined in red and black which either cover the whole field of the canvas or make up complicated beings, his familiar personages, relieved against grounds of solid black. The “field”

  • Giacomo Manzu

    At Paul Rosenberg and Co. an important exhibition of works by Giacomo Manzu features what the catalog confusingly terms “preparatory or final realizations” of the great bronze door of St. Peter’s at present installed in the Basilica. As only the Roman door itself can be the “final realization,” the reliefs on view must be studies or variants, since all of Manzu’s bronzes are unique casts from his waxes. These variants deal in similar form with the subjects on the door proper. Though Manzu had been at work on the project since receiving the commission in 1947, the final version displays an

  • Italian Renaissance Drawings

    Drawings from the Italian Renaissance is the first of a series of exhibitions devoted to master drawings from public and private collections located in the New York area to be organized by the Metropolitan Museum of Art together with the Pierpont Morgan Library. Beginning logically with the first great epoch in Western art from which drawings survive in any number, the exhibition provides a sumptuous first course in what promises to be a feast for the eyes extending over several seasons. As the masters of the Italian Renaissance still hold the favored position in public taste that they have

  • William Tucker

    The English sculptor William Tucker makes his American debut at the Feigen Gallery with a group of works done over the past three years. Tucker is one of the new “conceptual form” sculptors who works almost exclusively with regular geometric forms, both planar and solid, disposed rhythmically through space in sequential fashion. Working in polychrome metal, plastics, and wood, his pieces are given an industrial finish consonant with their idealized Platonic forms. Tucker’s intellectualized perfection of image and execution does not lead to hackneyed Purist sterilities however. Skillful articulation

  • Paul Feeley

    Veteran Paul Feeley shows constructions rather than paintings in his current show at Betty Parsons. These works in painted plywood are all based on the round cornered square with curved-in sides that has been a familiar feature of his art for some time now. Interlocking multiples of this form severely order the space around them, engaging a far greater amount of surrounding territory than ought to be possible by the right-angled intersection of two thin planes. The pieces perversely deal with volumes while themselves having negligible mass and limited extent. Their polychromy does, however, give

  • Nagare

    The Japanese sculptor Nagare shows impressive monoliths at Staempfli and once more points up the appalling decline of direct stone sculpture in the West. The key to Nagare’s successes lies in his profound grasp of the specific material nature of each stone he works and his respectful way of letting it have quite a say about the kind of image it will form. This is not the hokey “regard for the sense of the block” which led a whole generation of American sculptors to think that they could let the rocks do the thinking for them, but rather an approach to the material with a formal proposal which

  • Etienne Martin

    Etienne Martin’s first American show at the Lefebre Gallery struggles manfully against the spatial limitations of the exhibition space in an effort to find some room in which to stretch. Huddled in a cozy room and a half, his biggish pieces are obliged to thrust wantonly at the viewer surfaces meant only to be seen from some distance. Smaller works which might have had a chance were jostled to death or dwindled unhappily. The pieces themselves offer a variety of interpretations of standard European sculptural conceptions, such as “Petit Couple,” “Mandoline,” and “Grand Couple Tapie.” The banality

  • “Synchromism”

    Knoedler & Co.’s excellent exhibition, “Synchromism and Color Principles in American Painting” provides an ordered survey of a most important and long-misunderstood current in twentieth-century painting. Figures who flicker about the periphery of “main events” in most accounts of the epochal developments of the first quarter of the century here receive the share of the spotlight they deserve; how many of us have heard Morgan Russell and Stanton Macdonald Wright discussed as pickers of crumbs from the tables of the Cubists, the Futurists, Delaunay, and others as well? As William C. Agee’s model

  • H. C. Westermann

    H. C. Westermann’s exhibition of new works at the Allan Frumkin Gallery continues the level of truly distinguished accomplishment that has marked his one-man shows since his 1958 debut. Westermann stands for the total commitment to “unedited” expression and superb craft which can give artistic production an integrity coeval with an ethical act. Wedding his technique at every point with the form of his imagery and the nature of his content, it is impossible to conceive of any piece apart from the specifics of the materials Westermann has chosen for it. This union of the image and its material