Henry T. Hopkins

  • Abstract Expressionism

    TWENTY YEARS AGO what was to be called Abstract Expressionism was introduced to the world. It was born in New York out of the ashes of tradition by mature artists who knew what tradition was when they discarded it. Their contemporaries in southern California did not participate, then or later on, but were content to pursue their own ideas, which accepted tradition and developed it toward personal forms of Neo-cubism, Neo-expressionism, and Neosurrealism. There was one exception, the Danish-American painter, Knud Merrild, whose “flux paintings,” though small in scale, approximated the seemingly

  • Kenneth Price

    Born 1935, Los Angeles.

    BFA, University of Southern California, 1957.

    MFA, State University of New York, 1959.

    Represented by Ferus Gallery, Los Angeles.

    KENNETH PRICE WAS BORN IN Los Angeles in 1935, re­ceived a BFA degree from the University of Southern California in 1957 and an MFA from State University of New York in 1959. Ordinarily the academic background of an artist is of little importance, but in this case it offers two important clues to Price’s unique imagery. First, his graduate degree came from an intensive study of ceramic as a scientific, engineering material as well as a creative

  • Roger Kuntz

    The exhibition consists of oil paintings and constructions that relate to the California freeway system; as a unit they confront the viewer with the same mixture of emotional responses that driving the freeway incites. For the sake of clarity the works can be divided into three categories: (1) Close-up, cropped views of signs and symbols that give directions, identify roadways, and indicate speeds, representing the fleeting images seen through the eyes of the driver or pedestrian. Their crisp, green and white configurations, cut with shadows, indicate authority without being dictatorial; a

  • Oskar Fischinger

    Oskar Fischinger is better known as a creator of abstract films than he is as a painter. This is probably as it should be for the paintings shown here owe their life to the awareness of optics, implied movement, flickering surface, and deep space. They are intellectually conceived and relate to the Bauhaus idea of an ordered universe. The works range from 1944 until the present without any recognizable change in pattern or philosophy. The new works are smaller and somewhat more relaxed; due, perhaps, more to age than to intention. The earlier works are often excellent. But, for the moment, all

  • “The Artist’s Environment: West Coast”

    The UCLA Art Galleries have presented three exhibitions of West Coast Art in the last few years. Combined they have served to present a few new talents, give some recognition to several of the old guard who painted here against all odds, and, most importantly, to composite a skeleton heritage (presented in the catalog for this show) for future generations. Now, one hopes that it will be left to another generation to tidy up. With very few exceptions this exhibition, selected by Frederick S. Wight, Chairman of the UCLA Art Department, does not offer any visual stimulation that a consistent

  • “101 Objects of Wood”

    This exhibition brings together an assortment of oddments from hay forks to belaying pins, past and present, that have been crafted in wood and that can be manipulated. Objects that function at a spiritual level, such as African carving, have been intentionally ignored since the exhibition is geared to design, and an exploration of the possibilities and limitations of a specific medium. In this, it is the first of a series of planned educational exhibitions which will examine other materials: paper, clay, etc. It is an excellent exercise and one hopes that aspiring designers as well as the lay

  • Third Annual Exhibition of California Painting and Sculpture

    This grouping of 61 works, selected from over 700 entries, was juried by Thomas B. Hess. It is unfortunate that this fact makes very little difference and it is difficult to believe his catalog statement that “The optimistic light, intimacy and freshness that illuminates the exhibition is . . . a valuable contribution to international modern art from California.” The simple truth is that the large majority of better California artists do not submit to juried exhibitions and it’s hard to blame them. Those that do, submit through their galleries, and the works are more often than not leftovers

  • Roberto Chavez

    Chavez is one of a new group of Banditos who trained at U.C.L.A. and who would rob you of your reason to place it as just offering before the warm altar of the Virgin. He is a spiritual expressionist plain and simple, denying every subtle gesture, every naughty sophistication, in favor of an honest appraisal of himself and his environment. The clumsy brush and faulty color only enhance his naive vision.

    Though these are subject paintings that sometimes plod, sometimes dance, through Mexican allegories, floral arrangements, portraits, and ruinous landscapes, the real subject is Chavez. The exhibition

  • Group Show

    This is a non-scheduled exhibition which puts on display many of the fine prints held by this gallery. In addition to the prints, however, there are two objects which make a visit here worth while. One is an untitled brush drawing by Philip van Aver who trained at Pomona and is now working in San Francisco. It is a six inch Tondo reminiscent of a microscopic projection which weaves a web of wonder through thousands of tiny abstract symbols compacted tightly together. It exposes the kind of skill necessary to inscribe the Lord’s Prayer on the head of a pin. The other object is by the Swiss-born

  • Arnaldo Pomodoro

    Bronze, silver and lead sculp­tures, some drawings. This is an excel­lent exhibition, not only respecting the quality of the work, but also because it helps to expose the lie that abstract images are too much the same. It proves that individual and national characteris­tics maintain themselves even in non­objective contexts. There is little doubt that this is Italian sculpture, just as Pollock’s paintings are American, or Soulages’ French. It shows that subject matter is a lesser part of the artist’s heritage. There is an earthy taste here that differs from the lighter taste of the French and

  • Robert Ellis

    Ellis has for some time now been paint­ing large, sparse canvases that speak of nature through elongated dabs of vari­ous greens and browns laced over one another so that they move in space. The conformation is usually that of a reverse “C,” as if a willow branch dabbed with pigment had brushed against it. This moving element is contrasted against a static, usually upright and stick-like. These are played against a field of bare canvas. In this show nature is shoved over to the right and the left half of the painting is devoted to man-mades, which are symbolized by the harsh letters of posters.

  • Conrad Woods

    Near abstract paintings worked in oil on ma­sonite of modest size. Thin washes are absorbed into the panel while richer areas, developed with the knife and brush, stand clear, sometimes explod­ing, sometimes being sucked in. These are not quite academic, though strong touches of Gorky still remain, especially in the spatial punctures and descriptive line. The paintings are from two periods, two sources of influence. One group was done following a fellowship to India (1960), the other group are the result of a recent journey to Mexico. Knowing this, it is possible to extract ethnological differences.