Emily Wasserman

  • John Stephenson

    John Stephenson makes his debut at the Royal Marks Gallery with an adroit group of aluminum and steel planes rhythmically bent or lapped into form. His work is involved with the articulation of continuous hard surfaces and “soft“ fluid spaces, rather than with the establishment of some single volumetric object or image. His thinking is more in line with the open, simple forms of Robert Murray’s work (some drawings by Stephenson point to solutions similar to Murray’s), than with the Judd/Morris attitude. Stephenson uses long metal ribbons with rounded ends (giant flexible tongue depressors), or

  • Martin Canin

    The hot end of the rainbow glowed from the walls of the Graham Gallery during Martin Canin’s first New York show. In his large scale oils Can-in lines up narrow one-half to one-inch luminous strips, graduated from pale yellows through sunny golds to hot pinks or tangerine orange. He phases these bands in irregular sequences, and boxes them in at the top and bottom edges of the canvas, so that a succession of concentric, rectangular “coffins” take shape out of the melting radiance. All of the gold and orange-keyed paintings emit a soft, suffused, buttery light, while the small felt pen drawings

  • Tom Wesselmann

    If Tom Wesselmann is provocative at all it is when he is metaphorically succinct, rather than illustrational and specific. He shows a new group of erotic cut-outs at the Janis Gallery, extending the iconography of the bedroom literally into our environment, with his Great American Nude #98—a set-up of enormous billboard like flats. All of the trappings which are the similes to erotic functions and parts are mapped out alongside of a nude who lies in a blatantly seductive pose, in the Great American Nude #91. And all of the equations are quite clearly spelled out—there’s really nothing left to

  • Anthony DeBlasi

    A show which probably won’t get much attention, but which certainly deserves a serious look is Anthony DeBlasi’s first one man exhibition at the Spectrum Gallery. What at first appears to be a resemblance in design to Stella’s recent works turns out to be something quite different, and exhilarating in its own way. Within this group of half-a-dozen pictures, one senses some tremendous leaps which DeBlasi has been able to make, as he has explored a means which departs considerably from his own previous work (which was, for a while, figurative). Black and white reproductions are especially

  • Lee Krasner in Mid-Career

    THAT LEE KRASNER WAS THE wife of Jackson Pollock has been at once the greatest single advantage and the greatest handicap to her career as an independent painter: an advantage, because the experience of living and working intimately with Pollock served as a crucial catalyst to her own work—a disadvantage, especially since his death in 1956, because in one sense, she has had to labor against her relationship to Pollock. To the extent that Miss Krasner has increasingly expunged from her paintings an allegiance to his style, without giving up basic sympathies and conceptions about the process of

  • Richard Tuttle

    Richard Tuttle’s show of hardly definable canvas octagons at the Betty Parsons Gallery was impressive in the quietest and most radically undermining way. His crumpled, then flattened-out pieces of canvas, hemmed along their irregularly proportioned contours, and dyed through both faces of the fabric—stretched without armature onto the walls or placed on the floor—are not paintings in the narrowest physical sense, nor are they sculptures, nor even “hangings.” They defy pinpointing (as all art of high quality probably should), and challenge one’s preconceived notions about what constitutes “

  • Victor Vasarely

    Victor Vasarely, in his first showing since 1965 at the Sidney Janis Gallery, proves that he is the adroit and unrivaled master of a fashionable though largely superficial kind of “abstract trompe l’oeil” painting, which has been commonly called “optical art.” The exhibition is organized around two new series, the Ion and the Deuton panels, also including many other single experiments, some columnar sculptures, and three-dimensional plexiglass constructions. In the Ion suite, Vasarely fits together hexagonal segments which are trisected into parallelograms and painted in carefully graded values

  • Brice Marden

    Brice Marden’s current set of gradations from charcoal grey to deep mauve at the Bykert Gallery, pushes his concern with edge to the very brink of inconsequentiality. And yet, one hesitates to admit that as a group these paintings still have a certain appeal. All together, their effect is like the kind of overwhelming quiet which fills an empty, darkened room, or like the contemplative starkness of a monk’s cell. One’s attraction to them, then, is on the order of such a subdued, though slightly pleasant sensation. At the same time, their insistent greyness flatly denies a response even as strong

  • Kenneth Snelson

    Kenneth Snelson’s attractive stainless steel tube and wire-strung constructions at the Dwan Gallery are of interest mainly for their demonstration of an expensive and tasteful idea, rather than in terms of real plastic or sculptural significance. As examples of a certain kind of superficial structural “mathematics,” or as monuments to a svelte, modern look, they show how accomplished craftsmanship and a stylish intellectual skin are made to appear really Important.

    Three large pieces and several small maquettes were exhibited, but the great differences in scale do not appreciably change one’s

  • Paul Strand, The Mexican Portfolio, Paul Caponigro, and Photography in the Twentieth Century

    Paul Strand, The Mexican Portfolio (Da Capo Press For Aperture, Inc.), 20 hand-pulled gravure plates, 4-page text in portfolio with slipcase, 12 1/2” X 16”, edition of 1000 numbered and signed copies.

    Paul Strand’s Mexican Portfolio, an incredibly beautiful group of photographs taken during the early thirties, was issued in 1940 in a limited subscription (250 copies) edition. The volume has been unavailable in any form since that time. This year, Aperture, Inc., publisher of the quarterly of photography, has produced a new signed edition of 1000 copies for the Da Capo press. The portfolio includes

  • Darby Bannard

    It had been remarked lately that Darby Bannard’s too-palatable use of cosmetic or decorator colors runs against the grain of prevailing tastes for styles of reductive monochrome, non-relational, systemic, or serially repetitive composition. This actually says more about the inherent Puritanism of our own responses, than it does about the ambitious complexity of Bannard’s newest paintings, shown at the Tibor de Nagy Gallery. There is a deceptive mildness to his Jordan Almond colors, and a sweetness which challenges us by its very surfeit to override even this kind of psychological association.

  • Elliot Offner

    Shifting from the Bykert Gallery to Elliot Offner’s sculpture at the Forum is to experience a swift and obvious emotional disjunction between two not so distant generations. Bollinger is understated and cool in his approach to materials and forms, as Offner is emotionally committed and involved in a kind of precious artisanship which no longer interests most of the youngest sculptors. Although the two are at extreme opposite poles, neither Offner nor Bollinger seems to represent the finest that either attitude would have to offer. Offner’s show is composed of thirty carved or cast plaques,