Irving S. Petrin

  • Ed Carrillo

    Inspired and color-dreamt passages through an imagined nation. The paintings, mostly oil on wood panels, are in some cases joined or assembled from cut-out forms that have been re-inserted into the “home” panel. The paintings all date from 1964–1965 and offer a full view of Carrillo’s recent work and world. There is in these works a very non-tense matter of fact paint touch that eases the viewer, giving the imagery a kind of fluid long play with the senses. This first quality of great charm and authenticity protects them from any immediate dissembling. In Pearly Gates, a vast conjured upper-world

  • Rico Lebrun

    This large viewing of Lebrun’s early drawings is held together by the promise that it comprises work of the 1930–1945 period, yet no further documentation, or in some cases even dates, accompany this random selection of what has to be viewed as a “formative” period for an artist who was later to wield a significant influence on a certain generation of California artists. The possibility of groupings around specific interests, projects, or subjective “streams” is perhaps hampered by the nature of the artist’s life at that time, but this should not be an insurmountable task for any real partisan

  • Larry Rivers

    A small format show, arranged from fragments of earlier interests plus seven recent cut-out boxes dating from 1965, provides a skimming look at little touchdowns in Rivers’ running improvisation on the American art scene. The Daily Screw and The Sunday Screw, oil and collage works from 1963 open this presentation. Built up into the newspaper format with wide slices of photograph-induced paint, are two eye catching concerns of everyday and Sunday newspapering, sex and spies, the treatment of which in these two collages is, however, mostly verbal. Rivers’ short prose represents a kind of verbal