John Coplans

  • Athena Kalimos

    Miss Kalimos has a raw, brutal and ugly way of painting that is completely nihilistic. Her turgid and very dark tach­iste images in common household paints are unbelievably bad. It is difficult to accept the proposition that this artist, after taking a degree in the Decorative Art Department at the University of California, and then a Masters degree in painting in the Art Department of the same distinguished University, can be so ignorant of the vocabulary of art, and at the same time so inept. The paintings are so unbelievably grotesque that it would only be fair to assume that in view of her

  • Sam Tchakalian

    Tchakalian’s early work (1958) consisted of flat paper collage fused with discrete stains of color; the collage elements later evolved into a rugged and puck­ered accretion of paper with the edges determined by areas of flattish paint. Up to this point, whatever criticism one may have had of his work, it had, at least a signature and a brutal look that was very much his own. This has now been lost. In his current exhibition, he continuously gropes around in other artists’ territories, notably Clyfford Still, Hassel Smith, Michael Goldberg, as well as early Ed Corbett and James Kelly. In this

  • Group Exhibition

    Quite outstanding in this rather medi­ocre exhibition is the work of Louis Siegriest. Getting on in years, he is a most sensitive painter of landscape, who manages to delicately balance a knowledge of the most recent develop­ments underlying much of contemporary art with a sense of place, a specific distillation of the desert and rocky landscape. Clutton shows a burnt image that indicates a new line of thought for him (but rather old hat elsewhere) and Louis Gutierrez, a deep collage with a poetic­ally evocative surface. Hobbs’ work is marred by a color sense that is so excruciatingly garish

  • Dimitri Grachis

    Grachis’ last exhibition at this gallery, about a year ago, manipulated a limited number of forms in a very perceptive way. His work had all the appearance of being by a rather young artist with some knowledge of the history of form in con­temporary art. His current exhibition seems to reverse this idea: he appears to be justifying his previous work by linking his painting process to abstrac­tion from nature forms. These recent paintings of simple blocks of sun-faded colors derived from landscape add noth­ing to his previous statements and seem unnecessary backtracking.

    John Coplans


  • Jan Lundgren

    This gallery continues its excellent program of presenting the best in con­temporary printmaking by exhibiting the work of Jan Lundgren, a Swedish printmaker now working in France. His high relief etchings and engravings are markedly inventive. He works with a very restricted palette of yellow and greenish umbers, manipulating organic forms into vague human images.

  • Yannick Ballif

    There is little doubt that this artist is a master of all of the intricate tech­niques of intaglio printing, dry point and burin, but her work is marred by every conceivable cliché of form found in contemporary printmaking.

    John Coplans


  • David Mark

    This artist is 19 years old and a sopho­more at San Francisco State College. He is having his second one man exhibition of bright, cheery and trite illustrations painted in oil. 

    —John Coplans


  • Edward Lupper

    The metaphysical but uninhabited land­scapes of Giorgio de Chirico painted in his particular realistic manner still prove to be exciting material for those artists more interested in a high craft look than a contemporary image. Lup­per’s still lifes and unpeopled vistas with metaphysical overtones are within this tradition, but he is an uncertain and poor craftsman who fails to engage, and holds one’s eye by the technical competence of his images.

    —John Coplans

  • West Coast Art: Three Images


    The Ideas in the Exhibitions

    IT WILL PROBABLY NEVER happen again that three large separate exhibitions, all purporting to present some aspect of West Coast art, will crop up in the same place, at the same time, as the Pacific Coast Invita­tional, “The Artist’s Environment: West Coast,” and the 82nd Annual of the San Francisco Art Institute have done.1 And, if it ever does happen again, it is even less likely that we will have, as we have here, a pre­sentation chosen by a single man, another by a group of museum associates, and a third by a group of ten artists. The occasion is a godsend to the

  • Wally Hedrick: Offense Intended

    WITHIN LIMITS, A CERTAIN QUALITY within limits, a certain quality of unpleasantness and of ugliness is perfectly acceptable in the chic and fashionable world of contemporary painting. Yet even this world, conditioned to being slapped in the face and loving it, tends to reject Wally Hedrick’s work out of hand. There is something in his particular kind of unpleasantness that seems to break an unwritten agreement, that seems to actually offend where other artists often only pretend to offend.

    His conduct of himself as an artist—his management, or non-management, of his career also appears as a total

  • Robert Branaman

    Branaman has a romantic and bohemian image of the artist which he expresses in his work with a very genuine quality of beat up surface. He is a mutinous anti-formalist as yet unable to marry his own particular vision and ideas into a worthwhile image. Much of his painting is banal and trite, flashing back, as it does, into aspects of Pollock. In his drawings, which are totally different, he searches for a poetic symbolism, but is too often only literary. In resolutely turning his back on a formal and plastic mode of expression he ends up with expressing nothing more than his own maverick

  • Alfred O’Shaughnessy

    O’Shaughnessy, a young artist, has a rare spirit. He works exclusively within the black and white medium of drawing. The very best works are close toned, saturated and dark images in which he almost moves his work out of the realm of drawing into painting.

    John Coplans

  • Harry Leippe

    This exhibition raises an interesting point. Leippe, a sculptor, studied at the University of California at Berkeley and subsequently taught there. During this time he came into contact with Julius Schmidt, who was also teaching there as a visiting sculptor. Schmidt creates his sculpture by carving directly into the negative part of his sand molds, subsequently casting his work in iron. Schmidt’s repertoire of forms is very limited; he tends to concentrate on the process, making too much of an issue of his craftsmanship rather than of his art. Leippe, an excellent craftsman, rapidly and quickly

  • Group Exhibition

    One of the concepts of printmaking is that it can provide original works of art of a high standard at a reasonable cost and thus reach a wider ownership and enjoyment of art. At the same time, unlike paintings and sculpture the print is easily transportable. Thus a wide range of many different artists from all over the world can easily be made available. This gallery follows such a policy with fine discrimination. An important artist such as Arp is shown side by side with experimental work from Atelier 17 as well as some of the best local printmakers. Of this group, George Miyasaki’s new

  • Nan Street Fowler

    Miss Fowler continues to exploit the pictorial possibilities of the San Francisco Bay and its environs. Her approach to the subjects she chooses to paint is becoming increasingly lyrical and poetic.

    John Coplans

  • Eleanor Dickinson, Kaffe Fasset

    Dickinson exhibits a series of drawings and lithographs with a solitary painting. Her work appears to be conditioned by the idea that being a woman artist is of more significance than just being an artist. Her work is sentimental in both image and execution.

    Kaffe Fassett has had a rigorous training in the drawing methods of various old masters and is superficially able to match their “Look.” He adopts a different style from the past for landscape, architecture, etc. He is thoroughly lost when he comes to the 20th century and attempts to draw a kitchen interior, since he has no criterion from

  • Brian Dougherty

    Dougherty joins the pop wagon with a number of poorly executed large blowups of those fanciful images on the inside of cigar-box lids. He totally misses one of the most important points of Pop Art, which is, that basically the images of the best artists in this movement have a clarity of execution that in the commercial art world is the product of very specialized and highly skilled team work. For example, Lichtenstein’s blown up images of art work are executed better and are more creative than the originals; thus the surprise on seeing one of his canvases. In Dougherty’s case the originals,

  • Janet Lippincott

    New Mexican landscape is the prime source for these almost totally abstract paintings. Miss Lippincott has shown extensively in the Southwest and, occasionally on both coasts. Her work has also been shown at the Musee d’Art Moderne in Paris. Her paintings are wildly uneven in quality and, while she is very knowing in the application of paint to canvas, her knowledge of composition can be described as nothing.

    John Coplans

  • Farwell Taylor

    Taylor uses oil paint with a nervous calligraphic gusto. The deep space of the works is usually rendered in translucent blues and greens. On top of this surface, a staccato linear involvement results in a tight abstract pattern which alludes to figures singly or in bunched groups. Taylor excels in his handling of the water color medium. His statements about figures and landscapes are strong, direct and worthy of attention.

  • Harry Bowden

    Born in California in 1907, Harry Bowden studied with Hans Hofmann at the University of California in 1931 and later was his assistant in New York. With one exception, the nostalgic European landscapes and the nudes shown in this exhibition may as well have been painted in Paris. Bowden has neither a contemporary sense of time and place, nor does he appear to have profited from his past association with Hofmann.

    John Coplans