Helen Giambruni

  • San Francisco

    Work by artists representing highly divergent points of view characterized recent Bay Area showings.

    The Berkeley Gallery showed Richard Graf’s new suite of lithographs, The Family Romance (part one of a projected four part series, Parables of Being). The prints are supplemented by a group of the artist’s poems, which give them a loosely sequential order. Both poems and lithographs carry a heavy weight of philosophical intent. They deal with the individual components of the family—mother, father, son, daughter—in terms of their relevance to what Graf sees as the masculine predicament: an insoluble

  • “Eight Sculptors”

    Each of the sculptors was asked to present an important, recent work for this Art Bank exhibition. As a whole the show is disappointing but there are high spots. Karen Devich’s In God We Trust is outstanding. An eight foot coin sculpture with the motto across the top and a powerfully or­ganized eagle form of chromed automobile parts crashing through, its note of pop art irony is new for Miss Devich. She has been able to sound it with­out sacrificing anything of her formal strength. Reed McIntyre’s two-sided Wind––lyrical and at the same time elegant––contrasts a light, dancing fig­ure with a

  • Group Show

    This new gallery on Adler Place just off Colum­bus should be well worth watching. The young men who run it, Michael Elder and Thomas Valpy, are full of enthus­iasm and have interesting ideas for future shows. Elder says they will show quality work of any persuasion but the tone of this first group show is set by experimental young artists.

    Among the best things in the exhibi­tion are a cast aluminum sculpture by David Lynn, in which two crushed, sensitively varied tubular forms are played off against the thrust of a large sheet, and a drawing by La Verne Gamm, Sodomic Episode, explicit in subject

  • “San Francisco Unified School District Art Show”

    There has been a remarkable im­provement in the art program of the San Francisco Public Schools since the days when high school art classes often consisted mainly of speedball letter­ing, pencil drawing and making ceramic daffodils into pins. This large, juried exhibition, covering all grade levels through senior high school, indicates that there is now a lot of creative work going on.

    Perhaps the most noticeable improve­ment is at the elementary school level, where there is laudable variety and freshness of approach. Up to the third grade, of course, children need only be given materials and

  • Avrum Rubenstein

    This gallery shows only the owner’s work: paintings, collages, assorted graphics, constructions and even ceramics, at very low prices. Most of the paintings are in one of two styles. There are strong silhouettes against simplified neutral backgrounds and freer works, usually studies of musicians, in which the artist unifies background and sub­ject with a network of meaningless cur­vilinear brushstrokes.

    ––Helen Giambruni

  • Armand Cultrera

    Most of the paintings are landscapes and tourist-postcard type scenes of Morocco, Spain and France. Cultrera is a French painter, a graduate of the Ecole des Beaux Arts, who has lived in Morocco. He was also a student of Bonnard but there is no trace of that painter’s glowing color and seductive line in these altogether pedestrian oils. The watercolors are fresher in color and less labored.

    Helen Giambruni


  • “Supplement to the Annual”

    The gallery owner emphasizes that this is not a group of refusées but an exhibition of Western artists, some of whom showed in the Annual and others who preferred not to enter. There are two or three works by each. Several of the paintings are as good as many in the Annual but the quality is uneven and the show as a whole is unquestion­ably inferior to the exhibition it is in­tended to supplement.

    Some of the most satisfactory paint­ings are by the veteran Louis Siegriest, whose work seems to get progressively better as the years go by and who has a painting in the Annual. His land­scapes have

  • “Rejected by the San Francisco Annual”

    This in­teresting group of three graduate stu­dents and a recent deserter from the Art Institute do not hold that they were victimized, but say that they feel their work deserves a showing. However, at least one of them, Karl Rosenberg, the non-graduate renegade, believes that there is little encouragement from es­tablished artists for beginners who want stubbornly to find their own way, with­out guidance from the experts.

    Rosenberg apparently likes to solve his problems one at a time. He is trying to learn again to draw so he draws on his paintings with unfortunate conse­quences for the paintings.

  • Ada Garfinkle

    Mrs. Garfinkle uses the abstract expressionist vocabu­lary in a competent and often hand­some way without, however, adding any­thing markedly original. She states that she wants to create expressive visual experiences which involve the painting as an object, sometimes “an attitude of time, event or environment.” In keep­ing with this professed goal her work is varied in expression, sometimes lyrical as in Presence 6, sometimes intense. With its central black figure, shadowed by complex grey echoes, Event 11 should be disturbing but somehow it is not, quite. It fails to communicate be­cause Mrs.

  • Margaret Brunn, Joan Ridgeway and Burdette Morton

    Margaret Brunn shows a group of small landscapes, cityscapes and a still-life. The landscapes are conventional but at­tractive, done in a mildly Impression­ist style with glowing color and rich paint texture. Most of them are Marin County scenes. In some of her land­scapes she thins down her paint and does line drawings over areas of broad color, thereby sacrificing her best quali­ties to quaintness. When she abandons landscape for pseudo-cubist effects in decorator colors, as in the sailboat scene, she negates everything genuine in her work.

    Burdette Morton does glazed oils and intaglio monoprints.

  • G. H. Merritt and Roberto Kan

    In most of G. H. Merritt’s paintings two or three juicy swipes of color make a central conformation over a thinner ground. The more complex paintings like Tidal Structures are stronger but although they clearly show the influence of Julius Wasserstein, Merritt’s teacher, they do not equal Wasserstein’s power.

    Roberto Kan is a young Mexican paint­er of Hindu-Mexican parentage who has had some success in his homeland. His exhibition is largely made up of land­scapes and street scenes, unsophisti­cated––Kan has had little formal train­ing––but not unskilled. He compen­sates for prosaic color and a

  • Group Show

    Two new additions to the gallery’s stable are included in this exhibition. Jeryl Parker shows etchings in two distinct styles: abstract works with branching figures spread over dark groups and minutely detailed drawings of weeds in which delicacy of line obviates dryness. The other newcomer is Jack Carrigg whose interesting paintings have irregular ver­tical stripes in brilliant colors, and a speckled texture.

    Among those who have previously shown with the gallery, Mary Dyess, a graduate student at the University of California, is a figurative painter of no consistent style. Most of her paintings