Gerald Nordland

  • Jacques Lipchitz: Lively Legend

    THE JAQUES LIPCHITZ RETROSPECTIVE organized by the UCLA Art Galleries is a definitive survey of more than 50 years of work by one of the greatest living sculp­tors. The University has tried to make this an event of the greatest merit by permitting Lipchitz to select the show and by bringing him to southern California for appearances in conjunction with the exhibition. In addition this is the first UCLA Art Council sponsored exhibition planned for a national tour. The show is made up of 115 sculptures and 28 drawings, repre­senting his work in almost every year from 1911 (when the artist was 20

  • Jean Dubuffet

    The nearly 200 works by Jean Dubuffet shown at the Los Angeles County Museum through mid-August constitute the largest and most comprehensive examination of the painter’s art ever undertaken. This important exhibition was organized by the Museum of Modern Art, New York City, and will be seen only in Chicago and Los Angeles. Dubuffet is a controversial and fascinating artist with a major European reputation. It is unfortunate that other western cities will not be favored by a visit from this definitive study. An exhaustive catalog with writings by the artist and Mr. Peter Selz, the show’s organizer,

  • Arman

    The Dwan Gallery has moved to a new location in Westwood Village during May and has opened with the assemblages of the French “Nouveau Realiste” Arman. The artist is best known for his “accumulations”—plastic fronted boxes enclosing many examples of a single kind of object, automobile horns, alarm clocks, medicinal ampules, toy six-guns, ink wells or ladies’ shoes. The very simple power of repetition found in the massing of these forms works a strange magic, as if of incantation. In the “Furies”—objects destroyed or transformed by a furious instant of action and preserved in their transformation—one

  • Leonard Cutrow

    Leonard Cutrow is holding his first one-man show of drawings at the Santa Monica Gallery during June. Long recognized for his painting, draftsmanship and teaching, Mr. Cutrow is a dedicated craftsman and virtuoso experimenter. His show is the product of a continuing search for communication through symbol and technique. The artist utilizes a broad vocabulary of materials and ideas—papers, cloths, boards, ink, pencil, charcoal, wash, three foot stick-pens. None of these tools or materials are used for themselves but as vehicles to free the artist from cliche and standard habits of the skilled

  • Arshile Gorky

    Everett Ellen is showing a remarkable collection of drawings by the late Arshile Gorky. Spreading from 1929 to 1947, the year before the artist’s tragic suicide, the selection of pen, pencil and crayon works could hardly be improved upon. The patent reference to the work of Picasso, Leger, Matta and the surrealist expatriates are candid and significant in Gorky’s development. At his best, and he reaches this apex many times in the show, Gorky was one of the most powerful and seminal influences on the developing “new American painting.” Held in conjunction with the publication of Harold Rosenberg’s

  • Roy de Forest

    Roy de Forest is holding his first local one-man show at the new Dilexi Gallery—the southern branch of the well known San Francisco establishment. A veteran of Bay Area and local group shows, de Forest has unveiled a new technical means in this show. He utilizes an impasto surface that adds variety to his work. Occasionally the chaos of shapes, relief forms, painted strings of dots and stripes falls together with some success, as in the Diary of a Flapper. This work has a unity in vulgarity that recalls Max Weber’s Chinese Restaurant, Severini, and other radicals of 40 years ago. More often,

  • Efraim Modzelevich

    Efraim Modzelevich is showing oils and gouaches from the past two years at the Ryder Gallery during June. Born in Argentina and reared in Israel, Modzelevich shows an interest in the international style of anonymous abstraction which grows out of “good French painting.” His loaded brush strokes establish a ground color or harmony upon which he develops a linear scaffolding which takes on the perspective feel of a movie-set street. Often the colors are tastefully keyed in close harmonies. The surface is reasonably attractive and “painty.” The subject is bland, meaningless. Everything is terribly

  • Ernest Lacy

    Ernest Lacy is holding his annual exhibit at the Heritage Gallery with recent paintings and a group of drawings. Perhaps best known as a draftsman and printmaker, Mr. Lacy is pushing painting. The oils tend to appear as colored drawings. Paint is not handled with understanding. The forms are not conceived and executed in the paste but are found in line and then a color-substance is applied. As a result there is no life to the forms. Lacy’s drawings are much better understood. Michelangelesque figures pose in affected contrapposto. There is much hatching and shadow making and general playing with

  • Connor Everts

    Connor Everts shows drawings, paintings and graphics in his second one-man show at the Comara Gallery. The drawings and lithographs are crowded with messages concerning man’s lack of concern for his fellows. There is a deeply intentional philosophic content that pervades and possesses these graphic statements. By contrast the paintings are lyrical, idealistic, concerned with technical means and honest control of medium. Here the artist can give as much attention to a fold of bed linen as he can for man’s inhumanity in a drawing. The exhibit suggests a personal conflict in the artist between

  • “Los Angeles Businessmen Collect Art—Rembrandt to Picasso”

    “Los Angeles Businessmen Collect Art—Rembrandt to Picasso” is the mouthful of a title for the Municipal Art Department’s current Barnsdall Park installation. 77 works are loaned by fifteen collectors and six corporations in addition to a group of photographs illustrating recent architectural commissions in eleven new business buildings. A great deal of the painting and sculpture is quite dull. Many of the great names included in the show are represented by works of mediocre quality. Highlights of the collections are the Rubens’ Portrait of Phillip IV, and the group of Rembrandt etchings. A

  • Group Show

    The Paul Plummer Gallery is devoting itself to a group of the stable’s artists with each contributing one or two canvases. The gallery is interested in a wide range of figurative and non-figurative work, including American and Japanese graphics. Of chief interest in the May selection are Donald Totten’s large landscapish abstraction, Robert Brawley’s decorative arrangement in grays with its rich surface handling, and Bill Dunning’s highly colored oil, Interior.

    Gerald Nordland

  • Group Show

    The Los Angeles Art Association showcased drawing in its recent exhibit. The association’s membership works in a variety of drawing materials and techniques. Much of the show is shallow and many works could be questioned as drawings. Joe Carmichael’s Vase is a simple thing and well executed. Elise’s little Kandinsky-like paper is a gem. Ejnar Hansen’s portrait is a high point in an indifferent exhibition which pretentiously claims high ideals.

    Gerald Nordland