Elizabeth M. Polley

  • Dan Szpakowski

    Szpakowski shows both paintings and drawings here. He identifies with that group of Sacramento artists who examine the landscape of the surrounding area with an eye to its structure rather than sweetly describing it. But he varies in that he chooses his subjects from mountain tops: creeping snowpacks, precarious rockfalls and flying wedges of forest. Subjects which offer compelling diagonals in contrast to the endless horizontals of the Valley floor. Szpakowski is at his best in those small drawings where strong oblique lines trace the special flaws in a rock, or a glacier, which are first to

  • Warren Parker and Victor Heady

    The Vido is Sacramento’s newest gallery, located in Town and Country suburb. Its current exhibition roster indicates that it will cater to the more plebian tastes of the suburbanite. Which confronts Heady and his partner, Don Wilson, who own the gallery, with a problem of policy: determining their responsibilities as tastemakers as well as merchandisers.

    This small opening show features an exhibition of works done in the past three years by Parker, a young man of very irregular performance, and a token show by Heady, himself. Since the gallery is small (though tastefully appointed) and emphasis

  • Joseph Mallard William Turner

    This first comprehensive American exhibition and only West Coast showing of his watercolors re-establishes Turner as one of the most complex and contradictory artists England has produced. Circulated under the auspices of the Smithsonian Institution, it is intended to illustrate the extraordinary range and versatility of Turner’s genius. This it does, magnificently, insofar as 80 watercolors can represent an artist who is known to have produced some 19,000 of them during his long career. Emphasis is upon his lesser-known early and late periods, tracing his development from a mannered watercolor

  • Northern California Annual

    Northern California Arts, Inc., formed in 1937 as a service organization to promote art activities in the community, has had its ups and downs, swinging fitfully between “modern” and “conservative” styles of painting.

    In this, its 10th Annual Open Exhibition, it goes conservative to the point of being reactionary. Apparently the artists noted the jury panel, comprised of Ken Morrow, Dr. Marcus Reitzel, and Robert Rischell, and the outmoded terminology, and submitted accordingly. Why, after 26 years, this organization still clings to the silly categorizing of its shows into modern and conservative

  • Group Show

    A continuation of last month’s group show, with individual replacements as pieces are sold or loaned. Keith Boyle, Geoffrey Bowman, George Miyasaki, Tom Holland, Kishi, and sculptors Charles Mattox and Robert Hudson, from Lanyon’s regular stable of artists, are represented, along with an intimate little wall show of delicate prints by Ryanosuki Fukui.

    Boyle’s new direction seems to be toward brighter hues and harder edges, although he was never known for muted color and fuzzy shapes. Bird Feathers, his special offering here, keeps the bird in a green and embryonic condition, but the brilliant

  • Henry Rasmussen

    One hundred prints by 20 contemporary Greek artists, representing a high achievement in the use of materials, an understanding of international expressions, and a paucity of individual initiative and imagination; and monoprints by a Marin County artist who has pressed this method about as far as it will go.

    That the Greek printmakers, as represented here, have shown so little interest in developing any special national distinction is disappointing, although no one can deprecate their technical proficiency. Most of these exhibitors are well over 40, indicating that they have had time to make some

  • Melanesian Art

    The University of California's Lowie Museum presents an extensive showing of art from the New Guinea area.

    A REVOLUTION IN TASTE was brought about by the dis­covery of primitive art. It was a discovery of great importance, not only for its direct influence on modern art, but for its own sake and for the as yet unexhausted ideas it could supply contemporary ar­tists. Although initiated by the anthropologist’s curi­osity in man’s work, it has reached a new public this past half-century through the advanced vision of the artist. Actually a gradual awareness more than a dis­covery, its diffusion has depended not only on the nature of the art, but also on that special concept of humanity that all men are,

  • “Eskimo Prints”

    A new Eskimo art form was created when, in 1959, the Northern Affairs and National Resources Bureau of the Canadian Government established a craft center for printmaking at Cape Dorset, a small Arctic village on Baffin Island formerly known as Fox Peninsula.

    Evidence of the universal appeal of the prints is revealed in attendance records at exhibitions of such collections as that of Lilly Weil Jaffe of San Francisco, now committed to a busy exhibition schedule including galleries and universities in San Francisco, Berkeley, Sacramento, Oakland, Stanford and Santa Fe. This sudden, maybe too sudden,

  • “Limited Pulls”

    Signed limited editions from artists of Atelier 17, Paris, including a number from the master printer, Hayter, are featured at this little gallery specializing in contemporary prints. A choice selection by Marian Britton, director.

    Elizabeth M. Polley

  • Alexander Nepote, Ken Morrow and Tio Giambruni

    Oils, watercolors, collages, cast bronzes and one tentacled magna-site creation by three well-established Bay Area artists.

    Nepote has developed the infinite patterns of bare rocks, tumbling waters and snowdrifts of the High Sierras into an individual statement about variables and constants and primordial beginnings—the causa causans of the fields and rivers in the rich valley below. He is not obvious or sentimental about this, his work at first impresses solely by its powerful abstract design, as exciting to the artist as to the geologist or philosopher.

    Where Nepote raids geology for inspiration,

  • Edgar Dorsey Taylor and Gail Wong

    Woodblock prints of Mexican subjects and European cafe society, romantic abstraction by a young Boston artist now living in California, plus a group show of works from the Sacramento Artists League and some prize-winning photographs from the Sierra Camera Club.

    Taylor has the outstanding show here, with a tremendous range of subject matter and extraordinary capability in woodcutting. At times frankly illustrative, he can also be as expressionistic as either Munch or Schmidt-Rottluff. Coastal Baja California, with its brilliant sunshine and spectral landscape, lends itself to black-and-white, and