John Coplans

  • Jeanette Bedwell

    A competent and proficient craftsman, Jeanette Bedwell exhibits a number of land- and cityscapes vigorously painted in high key colors.

    John Coplans

  • Three Los Angeles Artists

    LARRY BELL, BORN CHICAGO, Illinois, 1939; lives in Venice, California. Studied at the Chouinnard Art Institute 1957–59. One Man Exhibition Ferus Gallery, Los Angeles, 1962.

    Bell’s early work consisted of severe, dark, low-keyed, loosely painted somewhat geometric statements. He was first noticed in an exhibition at the now defunct Huysman Gallery in 1961 entitled “War Babies,” a communal introduction to the work of Bell, Joe Goode, Ed Bereal and Ron Monasura. All four of these artists studied together at Chouinnard Art Institute and were strongly influenced in their particular views by Robert

  • Robert B. Howard

    Howard pioneered the use of polyester resin and fibre glass shell forms in sculpture and is noted for his delicately balanced and beautifully articulated and engineered stabiles. Many excellent examples of his work can be found in public and private institutions in northern California. In his current exhibition he shows a small number of typical works including a further innovation, the floating stabile. He controls the materials and forms admirably, particularly in his use of low-keyed earth colors to tone the plastic material of the sculpture. Apart from some dubious low relief linear decorations

  • Sidney Gordin

    Presented in depth at the De Young Museum last year and also included in the “Arts of the Bay Area” at the San Francisco Museum during the summer, Gordin’s current exhibition reveals no basic shift or development in his sculpture. But the exhibition includes a number of very beautiful strongly contrasting black and white drawings which provide an excellent insight into Gordin’s vision. Totally eschewing that common cliche of many sculptors, the drawing “after” the sculpture or the drawing as a “plan” for a sculpture he investigates with eloquence and imagination the process underlying his art.

  • Clayton Pinkerton

    Pinkerton’s list of degrees, prizes, foundation awards, and top exhibitions is a long and impressive one, but as with most painters today is more often than not a totally unreliable guide to merit. Pinkerton, in his current very large exhibition borrows Lobdell’s crusted paint surface (but totally fails to invest it with either the moral or plastic authority that is the essence of Lobdell’s art), and combines it with numerous superficial references to Jasper Johns’ iconography, Roy Lichtenstein’s use of figures and speech balloons from the comic strips, macabre skeletal images from Ensor, photo

  • Antonio Sotomayor

    This artist, primarily an illustrator and stage designer, was also formerly a cartoonist with a high ability to catch a likeness (a very necessary virtue in this particular art form). In his large exhibition of small works at this museum he again demonstrates his ability to catch a likeness, this time of other artists, Eugene Berman, Dalí, Henry Moore and Dufy.

    John Coplans

  • Newell, Wentworth and Vanderveen

    Wentworth’s stitchery is the best work in the show. Excellent color and very inventive and emblematic forms. Newell, an excellent craftsman in stone, carves pedestrian sculptures reminiscent of Brancusi. Vanderveen’s pottery is unbelievably offensive, banal and commercial.

    John Coplans

  • John Chamberlain

    The blurring of the distinction between painting and sculpture is now almost so commonplace that it has become an accepted phenomenon. The Museum of Modern Art Assemblage exhibition, recently shown in San Francisco, was an attempt to define and categorize this particular trend, but as Irving Sandler once wrote “any attempt to define a style must fall short in describing the uniqueness of its most interesting artists.” Chamberlain, who was shown in this exhibition, certainly possesses this uncategorizable uniqueness.

    The miracle of Chamberlain’s art is that these pieces of scarred and worn skins

  • Fred Martin, Tony Delap, Nell Sinton, Roy De Forest

    Excellently displayed in the corridors of a museum usually noted for its unconcern with (or ignorance of(?)) those niceties of hanging which are important to providing a proper framework of visual impact, this exhibition is deliberately linked by the consistent small scale of the works, which average about a foot square. Since Pollock, large canvases have been the order of the day in America, incorporating as they have, notions of enclosing and assaulting the viewer in an environment of paint. The tradition of the small format, however, has not been ignored: at least one major American artist,

  • The Grunewald Collection of Prints

    On loan from the University of California at Los Angeles is this superb collection of prints. It contains a wide and rich variety of works by most of the major European artists of the latter half of the 19th century and early part of the 20th. Apart from Steinlen, every artist is a major figure as a painter. The Impressionists are thoroughly represented, there is a Manet portrait of Lola de Valence which reveals his enormous debt to Goya, excellent works by Degas, Cézanne, Renoir and Bonnard. But a dramatic red and yellow woodcut by Gauguin from his Tahiti period dated 1894 and entitled Te Po

  • Tseng Yu-Ho

    This is a disturbing exhibition, not for its content, but its implications. Miss Tseng Yu-Ho is a very mediocre artist completely unworthy of major museum presentation notwithstanding her affiliation to the Downtown Gallery, New York. Her work is banal, boring, dull and empty. It is exasperating to realize that this work has been imported, when important and provocative artists such as Jasper Johns, James Dine, Frank Stella, the late Morris Louis and Kenneth Noland, to name only a few, have never been shown in the Bay Area.

    John Coplans

  • Emile Norman

    Most dictionaries fail to differentiate between art and craft and refer the inquirer backward and forwards between the two words without defining either. But art is concerned with the philosophy of life and craft with the philosophy of materials. Many artists are excellent craftsmen, few craftsmen are excellent artists. Emile Norman is an excellent craftsman and as such is concerned with the beauty of material. But he totally fails to endow his materials with the spirit of art.

    John Coplans

  • Jerry Edlund, John Broadhurst

    Jerry Edlund works in a figurative style very reminiscent of Clave, a French decorative follower of Picasso. Edlund works as a stage designer and also paints like one. Broadhurst works in a variety of styles without any consistent vision. His images, sweet figurations, are gently stained onto his canvases.

    John Coplans

  • Carmel Art Association, Group Exhibition

    This mixed exhibition of recently painted members’ work totally ignores all the great discoveries and adventures that have taken place in art over the past thirty years. The exhibition is well hung on walls that have been excellently painted in a dull flat off-white finish.

    John Coplans

  • “European Holiday”

    The works of ten artists are shown in this exhibition. Each artist has painted a view of a European city in a sentimental, descriptive and nostalgic style that was academic thirty years ago.

    John Coplans

  • Eliot Porter, Richard Garrod

    Porter exhibits a series of landscapes and images of rock surfaces in muted but highly selective color. He is a colorist of ability who brings a fresh vision to this branch of photography. His photographs reveal him as a person of great sensitivity with very perceptive thoughts on nature and our relationship to it. Garrod, who also uses nature as a theme is much more abstract and shows work only in black and white. His photographs are most skillfully composed with very strong contrasts; he has an extraordinary eye for details. He is a visual poet who completely transcends his media and takes it

  • Francois De Paris

    The name of this artist is highly suggestive of his art. Skillfully painted École de Paris nudes, still-lifes, landscapes and seascapes in bright high key color. A number of small studies from old masters are also shown.

    John Coplans


  • Notes on the Nature of Joseph Cornell

    CORNELL LIVES IN Flushing, New York. He was born at Nyack, New York, in December, 1903. Little is known of the artist’s early life, though a schoolboy interest in the theatre, history, and symbolist poetry is revealed. There is no record of college education or formal art training.

    There is little doubt that there was a special cultural climate in New York during his early years. The Armory show of 1913, which in turn produced the Steiglitz Gallery, the first avant-grade gallery in America, featured photography as much as painting. The climate of opinion at that time considered that photography,

  • “Work in Clay by Six Artists”

    In any environment, artistic, literary or scientific, the general level of its insights, intuitions and awareness—its total sensibility, is altered and shaped by a few key minds who open the pathways from the past and present, to the future. This exhibition could well be thought of as an homage to Peter Voulkos, since it was his direct attack (together with John Mason), that smashed, several years ago, the longstanding ossified craft approach to the use of fired and glazed clay forms. Voulkos opened the use of this medium to the chain reaction of current ideas in contemporary American art,

  • Wilfrid Zogbaum

    Zogbaum’s sculpture, like all good art, has that most powerful capacity to kindle in our imagination the complicated orchestration of perception, sensation, notion and intuition which we feel to be the innermost and deepest content of art, be it poetry, painting, music or sculpture.

    A Bird in 25 Parts is one work among the many he currently exhibits. In common with all his other works it shares the same noble and fine sculptural touch that consistently dis­tinguishes his art, but in addition, has a certain technical innovation of inter­est. As the name implies, this piece con­sists of twenty-five