James Monte

  • San Francisco

    Robert Hudson, this year’s recipient of the Nealie Sullivan Award for sculpture continues to work in the direction that has brought him national recognition in the last two years. His ability to positively confound the viewer by making heavy three-dimensional volumes appear virtually flat, and, conversely, flat planes appear three dimensional is strongly apparent in the eight works displayed at the San Francisco Art Institute Gallery.

    Of the eight works in the show, four are major examples, standing between four and one-half and six and one-half feet high. In addition to these there are two

  • Looking at the Guggenheim International

    WHAT DOES THIS YEAR’S Guggenheim International do, aside from merely exhibiting works by twenty-one artists? If the intent of the exhibition can be reduced to a common denominator, one can sum it up in the following manner: so-called “Minimalism” for want of a better word is surveyed by the inclusion of pieces by Andre, Flavin, Judd, LeWitt, Morris and de Maria. Pieces depending on one aspect of Minimalism, exact site location, and derived from Andre’s piece entitled Lever, include works by Burgin, Dias, Dibbets, Long, Merz, Nauman, and Takamatsu. The sequential aspect of Minimalism, the aspect

  • Three San Francisco Artists: Bernice Bing

    THE CALIFORNIA LANDSCAPE, its climate, its mode of living, have been parodied, abused and praised in turn by song writers, intellectuals and artists throughout the world. To be born and raised in California, as was Bernice Bing, gives one an attitude which might be called permissive. A Californian isn’t generally beaten over the head with the realities of day-to-day living, as is, say, the New Yorker. Events flow smoothly with­out apparent resistance; necessary decisions take care of themselves, and a peaceful existence is taken for granted, without deep thought. A childhood and adolescence

  • The 83rd San Francisco Art Institute Annual

    ONE RECALLS THE 1963 ANNUAL of the San Francisco Art Association as something of a landmark. The ten artist-jurors selected an exhibition which placed great emphasis on the rising importance of West Coast sculpture, and at the same time pointed out the richest directions in which the area’s painting seemed to be heading. Instead of prizes, that Annual’s awards took the form of invitations to exhibit in depth—up to five pieces—in the 1964 Annual, which would consist entirely of these invited artists, and from which, it was understood, various cash awards, including Ford Foundation purchases,

  • David Simpson

    David Simpson has been a Bay Area resident since graduating from the San Francisco Art Institute in 1950 (formerly California School of Fine Arts) and receiving a Master of Arts degree from San Francisco State. A ten-year retrospective of his work recently closed at the San Francisco Museum of Modern Art.

    Simpson’s work begins within a tradition of landscape. His early paintings combine the now familiar horizontal stripes with variegated spots and strokes of pigment, setting up an all-over diversity of directions with the picture plane. In the early work Simpson had already subordinated the

  • John Koenig and Masatoyo Kishi

    Beside the Motherwell exhibition, two expressionist painters, John Koenig at Woodside Gallery and Masatoyo Kishi at Gump’s Gallery, were on view at the same time in San Francisco.

    Both artist use complicated technical means to finish their paintings. Koenig uses a collage system where rice paper is glued over the canvas support and paint is applied over the paper as well as underneath. The generally thin, almost impoverished, look of the scrubbed paint is really the element that saves his work from becoming merely chic.

    Koenig’s paint and paste technique is quite straightforward when compared to

  • Jerrold Davis

    Jerrold Davis’s new paintings at the Quay Gallery are somewhat reminiscent of D. H. Lawrence’s Male and Female Allegories of thirty years ago. Davis is an awkward draftsman and a better than average colorist. The paintings are very powerful and are saved from abysmal ugliness by thin color application, running from transparent blues to creamy off-white.

    These current works differ from older examples in that Davis has decided to firmly render the figure rather than merely suggest it within the context of a basically abstract painting. Like Loran’s latest pictures, these seem transitional works

  • “Contemporary Spanish Painters”

    Under the auspices of the Spanish Government, San Francisco State College has thrown together an exhibit of Who’s Who in Spanish Art, Who’s Not Who, and Who Wants to be Who.

    Upon entering the converted canteen where the pictures are hung, one notes a veritable barricade of plastic-covered setees with three or four prone students in various states of somnolence. (The building which houses this exhibit had been designated as “The Gallery Lounge” by some unnamed educator.) Some of the paintings, oddly enough, are hung on the walls. Others are suspended back to back on aluminum poles that have been

  • Charles Plymell and Jose Cross

    The collage medium has been entreated to perform almost every visual task from the delineation of real objects with the very object being depicted, to the plastic function of operating almost inertly on the surface of a painting to add optic interest to the painting. Plymell’s collages ply somewhere between these two areas. The plastic quality of most of his work is totally overwhelmed by the overriding erotic content of the material employed in the construction of the collages. Where Salvador Dalí duplicated his own and probably other people’s dream images to create his surrealist paintings,

  • Umberto Foppiani

    Foppiani is perhaps one of the best known and most collected of the post-war generation of Italian painters. His work is found in many local collections, the most notable being the Zellerbach, displayed recently at the San Francisco Museum. Foppiani’s productions are like super-sumptuous Klee with a smidge of Victor Brauner flung in. Somewhere, along with these influences; spectres of ritual Greek and Etruscan beasties become incorporated onto his painting surfaces. The extrinsic quality of Foppiani’s oeuvre is the most interesting aspect of his work. A flat fresco-like treatment of figures,

  • Iqbal Geoffrey

    Geoffrey, a Pakistani artist born in 1939, has had an extraordinarily eventful career despite his youth. After having earned a law degree at 20 years of age, he was launched into the artistic world with a one man show in a London gallery. He is presently painting under the aegis of a Huntington Hartford Fellowship. On display at this fairly new Walnut Creek gallery are small gouache paintings, some mixed media works plus a number of ink drawings. The best pictures in the show possess a strong graphic quality enhanced by a natural spontaneity. The imagery used in the paintings is a variegated

  • Ceramics by Gertrude and Otto Natzler

    A working team of husband and wife jointly pro­duced these sophisticated pots, pleas­antly shaped and with lots of vertical and vaguely aristocratic forms. The lines used by the Natzlers are neither new nor particularly ambitious. Their main concern seems to be the development of the most incredibly elegant glazes ever to reach the surface of a pot.

    James Monte

  • Klaus Reim­ers

    Reim­ers, a German artist exhibiting for the first time in the United States, uses a dark, schematic division of space with­in which he fits chunky men and women in paralyzed attitudes.

    The depiction of Lotte Lenya as Pirate Jenny is one of the finest cuts in the show, depending as it does on a massive cubism recalling the European poster styles of the Twenties.

    James Monte

  • “Master Drawings from Chatsworth”

    One of the noteworthy facts about the Chatsworth collection is the manner in which the drawings were ac­quired. The catalog states, “The son of the first Duke of Devonshire, William Cavendish, who succeeded his father in 1707, was chiefly responsible for the formation of the collection.” By 1723 he had already formed a considerable col­lection of drawings; it was in this year that he made his most important pur­chase by acquiring the collection of Nicolaes Anthoni Flinck (1646–1723), son of Rembrandt’s pupil, Govaert Flinck. From this source, the marvelous series of Dutch landscapes done in wash

  • Elmer Bischoff, Richard Diebenkorn and Frank Lobdell

    The Bay Area is a com­paratively isolated community, tending toward artistic incest. The particular figurative painting it produces must, when compared, as it should be, with other contemporary exponents, with charity be called second rate beside the work of Bacon, Dubuffet, Balthus, Hopper or Morandi. Yet a “Name Brand” image of San Francisco painting has been created and Bay Area-style neo­-figurative painting crops up like a half­wit relative in regional exhibitions up and down the state. What is the source of the style, and why its persistence? The current exhibition provides a key, of sorts.

  • “Some New Guys”

    Rodger Jacobsen, a sculptor in his early twenties, has work on view at the San Francisco Art lnstitute’s 82nd Annual, the New Mission Gallery and Dilexi Gallery. At present he is influenced by the forms so prevalent in the sculpture and painting of the instructors and students alike at the San Francisco Art Institute. His pieces, however, have a mature authority of execution that transcends his influences. 

    Joe Goode and Llyn Foulkes are both New Realists and both fit nicely into the term. Their works have nothing to do with realism or abstraction in the usual way those words are used. Be­cause

  • Group Collage Exhibit

    Three of the artist members of the San Francisco Art In­stitute, Tony Delap, David Simpson and Sam Tchakalian, have chosen a selec­tion of collages from among the mem­bers of the Institute to be shown at the Institute Gallery and then to be exhibit­ed in various museums in the Western U. S.

    The exhibit divides itself into artists whose major work is principally in the collage or assemblage manner, such as Delap, Fred Martin, Robert Loberg, Joseph Romano and Daniel Shapiro. These artists have a keen sense of the possibilities of their medium probably because the questions, “What can I do?” or “

  • Ruth Dicker

    The encaustic technique is used in the major portion of these works. Miss Dicker studied with Carl Zerbe who has been using this practice for many years. The paintings range in style from sche­matic representation to totally abstract evocations of landscapes. The latest abstract works have a restrained surface quality wholly in keeping with the me­dium used.

    James Monte

  • William Bowman

    Rela­tively small wall constructions composed of tin cans, wire, wood, buttons, nails, pins, electronic components and, sometimes, paint are on view at the Green Gallery. Social protest is implied in some pieces; The Red Door is such a one. This construction has a door which, when opened, reveals a bold-faced sign on the reverse side: Bomb. After the lettering has been read, one is con­fronted with electrical parts somberly arranged to infer that this is the trig­gering mechanism.

    James Monte

  • Bedri Rahmi Eyuboglu, Kenneth Cox, Laura Andreson

    Eyuboglu is a Turkish painter who ex­hibits the influences of both Matisse and Picasso. He enriches the picture plane with texture that reminds one of rich textiles, Byzantine mosaics and the crumbly surfaces of old, old buildings. Kenneth Cox paints small decorative still lifes which are visually pleasant. Laura Andreson is the chairman of the Ceramics Department at U.C.L.A. Her small pots on display here show a technical virtuosity both tasteful and utilitarian.

    James Monte