Jane Livingston

  • Donald Llewallen

    Donald Llewallen’s paintings at Ceeje are lucid and carefully executed works whose primary force of persuasion rests in their illusion of internal luminousness. The scale and varying geometric compositions of the canvases serve the impression of subtle, stratified light in frontal and retreating planes: Llewallen restricts himself to uniform vertical panels or undivided picture surfaces. The tonality is limited to black, white and grey.

    Portal Series II, Two Ways (9 x 9’) is divided into equal halves. The left rectangular section is shaded at the bottom, lightening gradually upwards; the right

  • Ay-O

    The opening exhibition at Gallery 669—operated by a former manager of the Minami Gallery in Tokyo—is an environment of rainbow-striped objects and perforated boxes by Japanese artist Ay-O. It is called Tactile Rainbow #6. The “Rainbow” refers to a selection of ready-made items like plates, cups, spoons, matches, ashtrays, etc., painted with colored stripes, a series of “paintings” (these are striated all over, including the frames), and three Life Magazine covers with arbitrary sections of the photographic design painted in the same bright spectral patterns. Two of the covers represent American

  • Ronald Davis

    In his new work, Ronald Davis is dealing with geometric spatial illusionism in flat format. It has been correctly pointed out that he does not aim merely for achitectural trompe l’oeil in the sense of hiding, or denying, the surface. The material he uses—vinyl poured in layers over fiberglass—creates a glossy surface which reflects light and thus continuously articulates the flatness of the real plane. However, in the works presently shown at the Nicholas Wilder Gallery, one becomes aware of a much greater range and complexity of purpose than a simple projection of two simultaneous modes of

  • Ellsworth Kelly

    The Irving Blum Gallery is showing a suite of lithographs by Ellsworth Kelly, made in a French workshop in 1966. They bear a tangential relationship to Kelly’s sculpture which sets them apart from the hard-edge paintings. The suite comprises twelve prints depicting leaves, flowers and fruit, drawn sparsely with a firm and yet buoyant stroke, executed in black ink on large sheets of white paper. There are five Cyclamen, three Camelias, a Tangerine, Grapefruit and Lemon. What is most extraordinary about them is that they incorporate virtually every stylistic earmark of Kelly’s recent sculpture

  • Courtenay Moon and Thomas Bang

    Painter Courtenay Moon and sculptor Thomas Bang are shown at the Esther-Robles Gallery. Moon paints in a lightweight Abstract Expressionist vein except that he is not basically inclined to abstraction. His recent tendency to disguise directly recognizable subject matter is superficial, and with the exception of one work (Blue Fall) the paintings read as thin colorful washings around imposed objects. Emerging Table is so titled to call attention to the subject; however the table does not emerge at all—instead it sits sketched in black over the fabric of painted ground, looking very much like an

  • David Elder

    David Elder’s new sculptures at the Comara Gallery look as if they would shiver and retreat at a touch, like sea anemones. What they evoke of subtly perverse sexual imagery is their most positive, if not original, attribute. After one has optimistically gotten beyond their Freudian grip, what is left seems merely residue from innumerable other attempts—some better and some worse—to arrive at a synthesis between sexual, or funky, or surreal, imagery and the hard shiny materials of the modern technological era. Elder’s creations of black and white or black and yellow epoxy-coated fiberglass and

  • Agnes Martin

    Agnes Martin’s six recent paintings at Nicholas Wilder are all 72 x 72”. It is not easy to discern a hierarchy of importance among them on any grounds but the most purely subjective ones. Each functions precisely, in its own terms, exactly as one feels it must. The very existence of paintings by Martin in a public place implies that they are already selections from, or completions of, an unknown number of experimental works leading to their final states. Not only does she in fact destroy many works, but the works present have an almost incredible air in themselves of being culminations. Confronted

  • Frank Stella, Dan Flavin, Don Judd, Robert Irwin and Craig Kauffman

    From the days when Irving Blum’s hand figured importantly in the exhibitions at the old Ferus Gallery (briefly, before its demise, the Ferus/Pace Gallery), the presentations there were characterized by a consistent economy of works, legible installation and rigorous standards of quality. Accordingly, the opening of the new Irving Blum Gallery has been awaited with high expectation, and in fact almost everything about the present exhibition justifies this optimism. The choice of artists—Stella, Flavin, Judd, Irwin and Kauffman—is unexceptionable; the decision to show only one work by each artist

  • Amalia Schulthess

    When one gets right down to it, the old Bauhaus notion that the artist is obligated to respect the “integrity of the material,” whether it be wood, paper, steel or stone, not only isn’t an inviolable dictum but means very little until it is violated. This, at any rate, is the most diverting reflection occasioned from Amalia Schulthess’s current exhibition of sculpture at Esther-Robles. We have seen Schulthess’s progress over the years in a fairly even, if diverse, formal direction. Because she clings basically to the tried and true vocabulary of modern European sculpture, she is able to make

  • Mel Ramos

    If anything, Mel Ramos’s women of 1967 are even more luscious, more unabashedly coy, and more perfectly composed than ever. They are not, however, quite so campy. Ramos has sacrificed a certain amount of his 1950-ish California kitsch for the sake of staying abreast of last year’s commercial sex-symbolism as opposed to last decade’s.

    The main body of his new relief paintings shown at the David Stuart Gallery are about as chic as well-filled out females can be these days. Pucci Pants is a direct mockery of the ubiquitous angular postures of contemporary fashion models; against a lush yellow

  • Elizabeth Allen

    The story of the late Elizabeth Allen’s discovery by art students in her modest London home, of how her untutored patchwork pictures were brought out of obscurity early in 1966 in an exhibition at the Crane Kalman Gallery, where they immediately caught on and were bought by the score—and finally of her death this year at the age of 84, during the very apex of her belated success, savors of the distinctively English gusto for unearthing neglected “genius.” Andre Kalman, who was instrumental in her exhumation and who has brought a selection of her works to the Fleischer-Anhalt Gallery in Los

  • Frank Stella

    Eleven editions of lithographs by Frank Stella have been completed at Gemini G.E.L. Nine of the editions form a suite entitled Black Series I. Each is 15 1/16 x 22”. They are geometric striped patterns. The respective solution which each print proposes relative to the other eight presents an almost infinite range of possibilities. Their combined interdependence distinguishes them immediately from the 1959 black stripe paintings: conceived sequentially they take on the individual character of totemic images. They were drawn with lithographic pencil on aluminum plates; the white line is created