Don Factor

  • George Herms' Zodiac Boxes

    THERE IS A SENSIBILITY that seems to be, in great respect, peculiar to the West Coast, a sensibility which conceives of time as a kind of metaphysical shaper both of the artist and his attitude toward his material. This conception developed through the 1950s into a highly romantic approach to the found object or pre-effected image, and was shared, in one guise or another, by such artists as Wallace Berman, Bruce Conner, Wally Hedrick, Ed Kienholz and George Herms, along with certain of the Beat poets (who were among the first to turn the anachronistic contents of their environment into a kind

  • Anthony Magar and Forrest Myers at Dwan

    THE NEW CURRENTS IN American sculpture appear to have converged upon geometry. Taking as a start the work of Gabo, Pevsner, Albers, David Smith, Anthony Caro, et al, the younger sculptors seem to have been rushing out to the machine shops and commissioning elegant abstractions of steel and aluminum, and defending the invasion as a function of contemporary scientific and mathematical thought. The approach seems to be a justification of art through science. But, art as a visual, tactile experience cannot be dealt with entirely in terms of intellectual patterns. In the end the product, the finished

  • Arakawa

    In this, his second exhibition at this gallery, Arakawa shows a series of large canvases designed to look like blueprints. But they are blueprints of an imagination steeped in the history of 20th-century art. They refer simply to schematic explications of recent formal and idealic concepts with special reference to Jasper Johns and Marcel Duchamp, but there appears to be little in the way of any real dialogue or critical stance; rather, one finds a simple, personalized restatement of the ideas of these other artists.

    Arakawa’s only formal contribution is in his use of color, which tends to add

  • David Simpson

    Simpson’s previous exhibition in this gallery involved paintings consisting of horizontal lines of colors that looked like samples of Indian Madras. In this show he has changed to curves rather than straight bands and has brightened his colors. If, in his previous work, the paintings looked like swatches of much larger bolts of fabrics, in these he has wrapped his image around the edge of the support and abruptly broken the curve in order to contain the picture. But, still, one finds a very conventional use of color and a fairly arbitrary system of band width that provoke no particular tensions,

  • Robert Morris

    This is the first Los Angeles exposure of a body of Morris’ recent, widely-publicized work in which he has attempted to reduce the traditional qualities of sculpture—tactility, visual incident and structure—based on extra-optical premises to a kind of total gestalt experience. One does not see these simple, neutral, grey polyhedrons in the conventional sense of seeing sculpture. Rather, the pieces are sensed as spatial amalgams, objects that disrupt or comment upon the space of the room. Interest in the shapes themselves is quickly diminished, leaving an impression of scale as the dominant

  • Frank Lobdell

    This is the first major retrospective exhibition of one of San Francisco’s most influential painters. During the late 1940s and early 1950s Lobdell’s presence at the California School of Fine Arts emerged as the dominant force in the inculcation of the moral/intellectual attitudes of Clyfford Still, an approach that has seemed to dominate much Bay Area painting and sculpture up to the present moment.

    In being confronted with the vast body of Lobdell’s work one is impressed immediately with the consistency of a morphological approach to image and paint application that attempts to tear loose

  • Robert Graham

    Graham, in this first one-man show, exhibited a group of boxes mostly made during 1965. They are crafted of wood and transparent plastic and contain Surrealist-inspired views of contemporary figure groups, modeled of unfired clay, realistically painted, performing secret, erotic, rituals in conventionalized landscapes and beachscapes. A nude man holds a girl in a bathing suit in an acrobatic pose in a pool of water, or a group of bathers indulge their sexual fantasy knee-deep in the sea. Landscapes themselves become conventionalized and almost sexy. On occasion, the figures merge with the

  • Neil Williams

    In his first Los Angeles one-man show, Williams shows a group of paintings made between 1963 and 1966. The earlier works use a basic parallelogram-shaped canvas with interior cutouts or sides cut into jagged streamlined directions, and an image structure composed of repeated sets of a single shape (designed to relate to the canvas shape) and to conform to a somewhat mathematical order. These are all of a single color on a contrasting ground.

    The more recent pictures assume shapes that are more arbitrary, based upon superimpositions of different sized and angled rectangles. These complex fields

  • Allan D’Arcangelo

    In this exhibition of recent work D’Arcangelo has simplified, fragmented and flattened his silhouetted imagery of highway markings and the highway landscape and moved more directly into a formalist focus. Where, in certain earlier paintings, the highway would recede illusionistically toward the vanishing point, in these pictures it holds and affects the picture plane. The broken white center dividers become, now, parallelograms and the grassy embankments flat walls of green canvas separating the black road-base from the blue sky-top.

    The play, here, is between flatness and illusory depth with

  • Die Wiener Schule

    “The Vienna School of Fantastic Realism” as it is represented by its five founders in their first American exhibition, is an anachronism. Ernst Fuchs, spokesman for the group, claims the intention has been “to resurrect some long-forgotten artistic traditions by combining many qualities and disciplines, dispersed in most modern art, into a truly ‘fantastic realism’.” He claims kinship with such painters as Altdorfer and Grunewald, the Parisian Surrealists and the French Symbolist painters of the late 19th century. One sees, also, in the work of Erich Brauer, an affinity to Hieronymus Bosch; in

  • FIVE YOUNGER LOS ANGELES ARTISTS

    An exhibition designed to present the recent work of the five winners of the Contemporary Art Council’s New Talent Purchase Awards. These awards were established in 1963 to provide a year’s financial subsistence to a most promising young Los Angeles Area artist, in return for the opportunity to select one work for the Museum’s permanent collection.

    The show presented five young artists, all functioning within the current modes of advanced art, but there was little reaching out, few risks. Each has found an imagery and technique that gives him a personal trademark but none (with the possible

  • Jess Collins

    Jess (Collins) has been well-known in the Bay Area for a number of years as the creator of metaphysical, poetic collages (generally limited to black and white) composed of old magazine photographs, engravings and illustrations. These depended upon subtle juxtapositions of images cleverly made to appear as if the original material was found in the form presented. They were closely related to the collages of Max Ernst but dealt in a cosmology more complex and, often more esoteric than Ernst’s. The present show is composed of a series of oil paintings executed over the past five years. In these,

  • Larry Bell

    Bell, in this most recent group of glass boxes, has eliminated the seductive jewel-like elements of his previous work and focused his attention predominantly on the containment of light and the use of light as volume. The sparkling allure of the earlier work, the moving fragmentation of surrounding space accomplished by the juxtaposition of mirrored and transparent surfaces and the play of light from coatings that reflect one color and transmit another, is gone, as are the reflected variations on geometrical patterns. The poetic restructuring of space has here given way to a tougher more esoteric

  • Alfred Jensen

    In this exhibition of a recently completed suite of lithographs made at Tamarind, Jensen finds another literary means for articulating his color-geometries. The suite of 20 prints is entitled “The Pythagorean Notebook,” and is based on ancient mystical-mathematical formulas for architecture. The numerical systems are written out on the lithographs themselves and then illustrated using the artist’s own familiar vocabulary of geometric shapes and colors. Most of these are highly attractive, but the demand for an intellectual response to the extra-visual material makes for an incomplete confrontation.

  • Ron Davis

    The current mode in art evaluation seems very much to favor the innovator. The quality of the created object has become either secondary to, or confused with, the creative act or idea. The romantic ideal of personal combat in the canvas arena, and the formalists’ demand for fecundity, as called for in the critical literature of the past decade, have seen to this.

    Those artists whose work appears to derive from the current work of other artists, or tends to deal with the ideas of recent innovators, are often deprecated as chic or fashionably avant-garde, a position which ignores the drama of that

  • Art Grant

    In this first Los Angeles exhibition of a fairly well-known San Francisco artist, we are presented with a group of Op Art collages combining optical toys of the blinking eye genre into conventionalized, usually geometric configurations.

    The work, generally of quite small dimensions, makes use of gaily colored dots that change as the spectator moves, multi colored wheels that seem to spin, and foils that glitter. These combinations are handled with a deliberate lack of finish that refers back to the West Coast assemblagist tradition (in which indeed, Grant had long worked). The basic problem,

  • Guy Williams

    Two years ago Williams showed a group of large, organic wall constructions that seemed to relate to a kind of timeless biomorphology. Now he presents us with a totally different approach—large, sharp-edged, formal paintings that combine large curvilinear shapes with fragments of billboard-sized lettering, and in some of the pictures, objects, generally glass-fronted boxes containing objects shaped similarly to the painted image, affixed to the canvas.

    The paintings and constructions fit the contemporary mold. They derive, in part, from Arp, Ellsworth Kelly and certain other hard-edge painters.

  • Jerrold Burchman

    This is the first American exhibition of work by a 25 year old California painter who has been living and painting for the past two years in Rome. The general conception of his work is figurative, but tends to be divided between two different approaches to the figure. In the pictures of 1964, figures are most often buried among tightly knit, convoluted forms and set into a painterly abstract space. In the 1965 pictures, though, the subjects dominate and are surrounded by various elements drawn from the history of twentieth century art.

    Burchman’s real subject, thus, must be seen in terms of an

  • Gaston Lachaise

    This exhibition consists of some fifty works covering a twenty-five year span from 1910 to 1935. Included are a group of bronzes, many of which are quite familiar, and a series of drawings that have never before been exhibited. The bronzes are mostly female and male nudes and Expressionistic, distorted studies of portions of the female anatomy. These distorted pieces, made during the latter part of Lachaise’s career, combine a personal, poetic commentary on the human form with a kind of precise pulling asunder of one portion of the body, doing battle with it, training it, making it swell or jump

  • John Barbour, Lundeberg, Mclaughlin, Feitelson, Hammersley, Peter Krasnow, Elise Cavanna, Eva Slater, Karl Benjamin

    This show of work by ten artists, all working in the general area that has come to be known as the “Hard Edge,” attempts to delineate a specific involvement in Southern California prior to the 1958 Abstract Classicists exhibition. That such an involvement existed throughout the early fifties has been well documented, but rarely has one been given the opportunity to see its range.

    This range, insofar as it can be seen in this small exhibition, goes far afield from a specific concern with edge. Rather, it would appear that these painters were all interested in developing an abstract art composed