Fidel A. Danieli

  • George Rickey

    Rickey’s kinetic sculptures are additive linear or planal devices which trace wind-driven movements in space. “Driven,” though, is too forceful a term to describe the caressing energy to which these ingratiating blades and vanes respond. Most, light in gauge and tenderly balanced, achieve a delicate elegance. The faint tendency toward fragile superficiality is confirmed in the full-blown jeweler’s preciosity of four “Fleurs de rocaille.” Clusters of tiny paddle wheels are weighted down by glittering crystals, and only here Rickey became the victim of his good taste.

    Going beyond Calder’s primitive

  • Group Show

    As is the tendency in summer reruns of a gallery’s stable, very often the lesser publicized members come off surprisingly well. Electric by Ruscha is the Pop selection. Derived ultimately from Johns in the redundant collision of typography selection, blended and flat illusionistic color, and direct placement, it glows with matter of fact obstinance.

    Craig Kauffman’s mechano-organic constellations almost demand the third dimension of relief or sculpture. Having floated his shapes upon clear plexiglass they even now carry about a cast shadow. Corporeal reality may too suggest itself as the flanking

  • Figurative

    THE SOUTHERN CALIFORNIA FIGURATIVE SCENE is a curious post-Romantic spectrum of divergence, variegated by strains of autographic artifice, depictions of the “good life,” notes from pure imagination, and an active search for striking iconography. The fund of possible associations conjured up by the barest anthropomorphic outline continues to attract five generations to the reinterpretation of the human figure’s potent, contemporary relevancy. However, a particular local situation distorts an overview, for, obviously, the twin traditional bodies of demonstrable knowledge, anatomy and perspective,

  • Dorothy Waldman

    Having recently achieved official Hard Edge recognition, Waldman is discerned amidst change and expansion of her themes. The older works can be likened to connecting bridge structures with possible perspectival implications. These probably have their source in the total field and value orientations of Motherwell and Kline, assimilated at some earlier point in her development. The newer reveal a growing repertoire of broad, flattened, terminal inventions as the extremities of her former limb networks. All are cropped to suggest a detailed portion of a larger complex shape. Though reversals of “

  • Annual Faculty Exhibition

    The School of Architecture and Fine Arts presents a somewhat skimpy assortment with a strong and not unexpected emphasis on design. The commercially acceptable wares of the ceramists, weavers, and textile designers, geared unmemorably o the marketplace, mark the applied arts with uninspired technical competence. The graphic designer, Debora Sussman, stands out in the area however, as a lively member of the “pointing hand and asterisk” school of jumpy typography.

    Though the general view establishes a queasy sense of confidence, unusual examples are found in the repeated image prints by Wachsmann

  • Marvin Littenstein

    Mr. Littenstein paints heads, distorted and fractured in a style which cross-breeds stained glass windows with Cubism. No doubt he is deadly serious. The paintings are very sad.

    ––Fidel A. Danieli

  • “Dimension 4: Hebert Genser, Harry Soviak”

    Genser’s mechanical constructions pre­sent the rotation of long rectangular planes on an axis, creating a flicker of rapidly alternating warm-cool and light­dark colors and horizontal-vertical pat­terns. As optical sensations they are slightly painful and test the viewer’s endurance. Speed and size seem not well coordinated. The most fascinating, B-4 moves farthest into a concen­trated warping illusion as it maintains a wavering and deceptive balancing act.

    Genser’s flapping paddles are ideally suited complements to Soviak’s stately environment of string-wound, color­banded tubes. The group

  • Alfred Jensen

    Purporting to make concrete personal intellectualizations on underlying scientific principles (Image and Afterimage—“light-electro-magnetic color working schema”) and philosophical theorems (Duality Triumphant) by means of geometrical divisions, Jensen may be allied with other architectonic painters such as Hooper, Davis, and Leger. His paintings are also obstinate and make no concessions, but create a tough, dumb sense of beauty. His curious diagrams propose to distill a salient glimpse into all-encompassing unity, but through contradiction, end in an overall patterned redundancy not unlike

  • James Jarvaise

    Jarvaise’s recent Spanish works deal almost exclusively with the figure—in spite of himself, it would appear. For he raises the question of how many ways a head may be staged while maintaining a mute detachment from the model and preserving “purer” pictorial concerns. First, dehumanize its existence in a series of blunt two-value planes or dissolve it in a run of slippery pigment, then turn it profile, flatten it and create a black silhouette, and the final move, turn it about to a “profil perdu.” Hands, should the occasion arise, are to be treated in swift fluttering masses.

    The majority, a

  • Thomas McFarland

    This young etcher’s progress in the past five years is apparent in this tidy showing. His personal and heavily-wrought interpretations of imagery are drawn from mythology, favoring a columnar female accompanied by a supporting beast or the active pulsation of involved gesturing groups. Essentially he has staked out the extremes of a polarity while bridging technique (not the usual craftsman’s mystique) with his subject matter. The clear and fluid draftsman’s emphasis in the white-on-black Persian Carpet and Signature Three contrasts well and equally with the invention and change and intricacy

  • “Architect's Choice”

    A group show drawn from local sources, of paintings, small sculptures, and large drawings, selected by the anonymous machinations of architectural firms, ends by signifying nothing. Almost surviving the general low level of collective taste are the more well known: Asmar, Falkenstein, LaChapelle, and Serisawa. One wonders to whom the blame should be assigned. If architecture is the mother of the arts, surely painting and sculpture deserve a more heartening fate than orphans in the storm, adrift, which is what they here appear to be.

    Fidel A. Danieli

  • Clay Walker

    For his first Los Angeles showing Walker presents four vaguely related types of work—dark, loosely architectonic oils, red and blue patchwork gouaches, wood relief constructions with humorous overtones, end silvery canvas appliqué collages. In touching so many undistinguished bases, he flirts at the perimeter of structure and personal style, and arouses only vague aspersions upon his intent. A coherent direction perhaps will be forthcoming, but as each diversity is so completely defined, it is problematical. On the other hand, as recompense, his biographical notes and exhibition credits at