John Coplans

  • Pop Art, USA

    “Pop Art, USA,” the first exhibition to attempt a collective look at the movement in this country, was presented at the Oakland Art Museum during September, 1963. The following essay, by John Coplans, who organized the show, has been pre­pared as the catalog essay for the exhibition.

    ALTHOUGH THIS EXHIBITION is the first to attempt a collective look in considerable depth at Pop Art (as well as those artists who now appear as harbingers of this new art), it has been preceded by a series of important museum exhibitions within the last year that have examined various aspects of this heterogen­eous

  • An Interview with Roy Lichtenstein

    ROY LICHTENSTEIN, BORN 1923 New York City, lives in New Jersey. Studied under Reginald Marsh (1939) at the Art Students League. Ohio State 1940–1943. Served in the armed forces 1943–1946 (Europe). Re­turned to Ohio State 1946 (B.F.A.) and taught there until 1951 (M.F.A. 1949). To Cleveland 1951–1957 paint­ing and making a living at various jobs. 1957–1960 instructor at N.Y. State College of Oswega. Currently teaches at Rutgers University.

    Q. How did you paint prior to your current style?

    A. Mostly reinterpretations of those artists con­cerned with the opening of the West, such as Reming­ton, with

  • Sculpture in California

    SEVERAL EXHIBITIONS over the past year or two, notably the 82nd Annual of the San Francisco Art Institute (at the San Francisco Museum in May, 1963), have called attention to the emergence of a powerful sculptural movement on the West Coast. An image of West Coast sculpture has evolved which represents the first flowering of a variety of loosely-related devel­opments. The Oakland Art Museum’s current exhibi­tion at the Kaiser Center* presents, in a particularly clear and uncluttered form, examples of the most im­portant of these developments and permits the viewer to sort, group and discuss the

  • 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