Fidel A. Danieli

  • Greg Card and Mary Corse

    THE RECENT PAINTINGS OF Greg Card are so slight in appearance, a bare transparency of tone, that one could hardly imagine a more simply poetic yet drastically reduced set of conditions. This slightness, the apparent lack of concern with viewer involvement, is of course entirely deceptive for he is dealing with sensation close to a low threshold of stimulation. The paintings are columns of clear cylindrical acrylic plastic capped at the top and bottom, coated with even sprayed layers of transparent lacquer. They are suspended a foot away from the wall by a length of invisible nylon thread, and

  • Some New Los Angeles Artists


    JAMES DE FRANCE HAS CONSISTENTLY directed himself to the projection and suppression of tangible and illusory energies. It is in the balancing of these forces that his paintings attain their merit; they assert objectness (or at least a relief-like quality) while maintaining a purely painterly quality. The recent works have seemed unusually bleak and repetitious; greyish or whitish square panels or canvases with a uniform series of regular openings cut into them, the state of the surface appearing to have been finally arrived at after much struggle even if the composition was arrived

  • West Coast Grotesque: Stephan Von Huene

    AMIDST LAST APRIL’S OPENING NIGHT festivities of the Los Angeles County Museum’s “American Sculpture of the Sixties,” the one work that met with spontaneous applause and general enthusiasm was Stephan Von Huene’s Kaleidophonic Dog. Engagingly delightful it seemed: a music box of toots and gongs cycled to perform at regular intervals. The small sculptural animal atop it, on his back, gleefully (or hysterically) kicked his legs in the air, and opened and closed his clacking denture-filled jaws. A nearby entry, fully as large though silent, formally as involved, was generally overlooked or poorly

  • The Art of Bruce Nauman

    A FIRST ENCOUNTER WITH THE work of Bruce Nauman is extremely disconcerting. Very little prepares one for the realm of remarkable concepts and surprising forms with which this young sculptor deals. Each work, like the tip of an iceberg, is the barely exposed result of a complicated and fully developed line of interpolation and interpretation. Nauman is working in an extreme corner of the area of bare visibility, for the forms are of unusual proportions, homely materials and, whether titled or not, would appear at first exposure to be a vaguely repulsive caprice.

    The response to a Nauman may vary

  • Robert Hudson: Space and Comouflage

    THE ARTISTIC SITUATION IN San Francisco has been described so often as cloistered, inbred, and idiosyncratic that the contributions of individuals have the tendency to be overlooked. One such case is that of Robert Hudson. While many of the prevailing cross-currents of influences, attitudes, and tastes are clearly prevalent in his sculpture, within this framework of time and place, a closer examination would reveal a vital worker with a set of conditions suggesting an important approach toward an optical sculpture.

    Hudson began his career as a painter at the San Francisco Art Institute, attracted

  • Two Showings of Younger Los Angeles Artists

    TWO LOS ANGELES GALLERIES, the David Stuart and the Dwan, chose the summer months to present exhibitions of younger artists whose work is but very little known even locally. At the Dwan Gallery, in a series of line drawings, John Caruthers explores various geometrical possibilities of evenly spaced torsions and tensions. Basically flat or illogically overlapped situations, they take their cue from Stella in that a bar possesses the ambiguous possibilities of being a boundary division and/or an enclosing or subdividing line. The overall shape is square and the consistent attempt is to disrupt

  • Larry Bell

    MOST YOUNGER WEST COAST ARTISTS began their careers in the late fifties under the influence of one or another of the prevailing New York School styles. Larry Bell describes his student work as inspired by Pollock, but through much reworking the charged gesture and atomized field were finally fused with a geometric approach. In the first stage, never exhibited illusionistic renderings of cubes are found to be linked inseparably to the isometric projections he favored in the early sixties and remain at the core of his present concerns. A move of prime import caused the actual pictorial format to

  • Billy Al Bengston’s “Dentos”

    BILLY AL BENGSTON’S RECENT WORK introduces three fresh conditions which alter almost completely the familiar view. These modifications are the physical manipulation of the support, the brittle aluminum surface and new color, and the tilting of the painted configurations.

    An unmounted series of paintings dating from 1965 first introduce a unique variation of the surface. The grounds are a variety of veneers and synthetic board he calls “woodies.” The rippling grain pattern holds as a unified field or background, and the painted portions, whether solid or spray blended, suggest a decal applied to

  • “New York Group”

    In an uneven group sampling Los Angeles viewers have their first opportunity to judge some of Dwan Gallery’s New York contingent. Richard Baringer’s contribution is a curved Stella-derived optical panel of painted aluminum. A dazzling pair of repeated stripes, red and chartreuse green, zig-zag toward a compressed center point. The vertically dividing open slot between the two arcs and the yellow ochre flat areas used to fill out the rectangular format are unfortunate if necessary compromises.

    The Arakawa lithographs of room plan blueprints are typically minor homages to the Duchamp method and

  • Robert Graham

    Robert Graham’s sculptures at the Nicholas Wilder Gallery are strange and individual works of Surreal fantasy. Now explicitly erotic, the tiny figures, six to eight inches high, modeled from pigmented beeswax, take part in curiously rare and memorable tableaux. Their most remarkable quality is their minuteness and the intense and demanding concentration directed to their realistic recreation. As examples, one nude is complete in detail to hair and eyelashes, and another sunbather sips a summer drink fitted out with a citrus slice and a straw. Impressive also is the wide range of materials used

  • James Jarvaise

    In his new Leaf Series of painted reliefs at the Felix Landau Gallery, executed during the last three years, James Jarvaise follows through in a direction begun in his Hudson River series of oils. The show points out also how unnecessary was his departure to Spanish (Bay Area?) figures in 1963. Recovering lost ground, Matisse reappears as an influential factor, but now crowded out by a host of other masters; Arp, Calder, Gorky, and Marca-Relli.

    The reliefs are sawed and epoxied plates of shaped aluminum staggered in and out of a four-inch deep space and coated with a base of white enamel. There

  • Alex Katz

    Alex Katz, at the David Stuart Gallery, is a summary surface painter and easily contented. Entirely derived, he evidently owes his reputation to his talents as an “in”-group portraitist. The flat tone modeling, along with his photographic inspiration he owes to a tradition as old as Manet, and the enlarging of the heads more specifically to Lichtenstein and Rosenquist. The emphasis is on large plain areas of skin tone, briefly modeled around eyes and mouth, under the nose and chin. The handling varies from drawn fill-in to an abruptly planar construction. His merits are his ability to oppose

  • Craig Kauffman

    Most important in Craig Kauffman’s new work at the Ferus/Pace Gallery is the “disappearance” of the mechano-organic shapes which were his individual forte. These shapes, biomorphic, eccentric cams and linear capsular shafts, first emerged painted and outlined upon sheets of clear plastic. In the following move the shapes were molded, protruding from the surface, and transparently dyed. Now, retaining the rectangular format but sacrificing those earlier trademarks, he indicates a painter’s concern for the traditional picture plane, though it be a relief.

    The unexpected progression is that the

  • Jerry McMillan

    Jerry McMillan is a talented young photographer modestly showcased at the Pasadena Art Museum. At their simplest his works are vignetted, i.e., isolated, in round-cornered, wide borders and mounted upon framed grounds in the fashion of drawings. Others, in irregular formats, also call attention to the variety of presentation possibilities for photographs besides that of matting for a portfolio. These cut out manipulations are seen usually in magazines or in advertising and one rather wishes they didn’t strike so close so often to frank commercial application.

    Photographs within other photographs,

  • Dan Flavin

    Dan Flavin’s first West Coast presentation at the Nicholas Wilder Gallery has given him the opportunity to fulfill his wish to execute an all-white show. His art is the deployment of fluorescent tubing (cool white in this case) in various configurations which he carefully terms “image-objects.” To judge from the successful installation, his art is easily situational or environmental; at its conception he relates a compositional idea to its specific exhibition site. At the same time each piece is clear enough to maintain its individual integrity.

    The fluorescent tube is a factual medium and its

  • Louise Nevelson

    Inaugurating the new Ferus/Pace gallery are three large plastic constructions of Louise Nevelson. Her former wood assemblages have been modified to the extent that designed maquettes of a geometric nature are executed in lucite; in effect she has gracefully turned the manufacture of her works to others while exercising complete control. The black plastic exists in both dully lustrous and shiny versions. The color pervades the work, unifying the various compositions more convincingly than in the previous single color coats of paint, for differences in form source (handmade, machined, and scrap

  • Frank Gallo

    Viewed at the Felix Landau Gallery, Frank Gallo’s epoxy resin figures fall into a unique stylishness recalling the voluptuousness of a more languorous period. Pointedly posed and poised they exhibit enormous taste, chic, and graphic detailing usually associated with fashion illustration, or more accurately, a fin-de-siecle decadence. The plastic seems freely molded, cut, and etched (a sharp tool carving and drawing) and stained with pigment. (The source for the etched or drypoint line quality may be found in the work of Mauricio Lasansky at the State University of Iowa where Gallo received his

  • Iain Baxter

    The “It” show of this past spring is followed by the hollow, mocking humor of “Thing Company,” the proliferating invention of Iain Baxter at the Rolf Nelson Gallery. This English-born, Canadian based young sculptor manufactures “accessories” for some of the better-known works of art of our times. There is, for example, a polka dotted slip cover for a Don Judd wall piece, or a quart or so of yellow fluid, in a clear plastic bag, for Claes Oldenburg’s soft toilets. Into clear, inflatable plastic bags of diverse sizes and shapes go other things as well, clouds for instance, and landscapes. Baxter

  • Picasso Prints, Albers Lithographs

    Printmaking has provided Picasso with as potent an auxiliary medium as drawing, collage, sculpture, and writing. At once peripheral to the main core of painted production—oils producing the major motifs for graphic reproduction––his prints are also essential to these theses, and, at their most concentrated, high caliber individual statements.

    The sequence of sixty years of work in the Los Angeles County Museum of Art’s exhibition impresses by its staggering volume. Through some 540 examples, less than one-fourth his total production, a clear comprehensiveness of the broad range of differing

  • New Work by Friedel Dzubas

    SINCE HIS APPEARANCE IN Clement Greenberg’s Post Painterly Abstraction exhibition in 1964 Friedel Dzubas, in a one-man show at Nicholas Wilder Gallery, has changed rather remarkably. Dzubas has not simply entrenched or even extended his style, but has revived and consolidated a number of pictorial concepts of forty or more years ago.

    Dzubas presents a variety of formats: a large upright rectangle reserved for tallish ovoids packed at the right side, extremely long rectangles, and banded rectangles with an alternate position of either vertical or horizontal. The first are appropriate reminders of