John Coplans

  • British Art Today

    THIS EXHIBITION SHOULD BE VIEWED against the deter­mined and planned attempt on the English scene over the last fifteen years to shatter its innate artistic provincialism, and at the same time emulate the American breakthrough from the stranglehold of both the cultural and commercial monopoly of the École de Paris.

    Apart from Moore, Hepworth, Nicholson and Sutherland, who were in full and mature possession of their art prior to the Second World War, this exhibition shows the major contributors to, and survivors of, successive shifts towards this ideal of regional cultural independence, culminating

  • Charles Mattox: Three Machines

    His machines, often gimmicky and witty, are a form of up-to-date popular art more concerned with the rosy science-fiction vision of the marriage of art and technology than with constructivist purity of color, line, form and space.

    Rotating Color Field. Consists of a series of mechanically rotating vanes painted in dark saturated colors. When in motion the color field silently turns a cycle of colors and has a mysterious and hypnotic visual quality.

    Switcher-Bitcher. Apart from having the expected superimposed motion of various parts rotat­ing and reciprocating with a pattern of lights in a numbered

  • The New Paintings of Common Objects

    An exhibition assembled by Walter Hopps at the Pasadena Art Museum, with the following dramatis personae:

    OUT OF NEW YORK: Roy Lichtenstein, age 42, previously an abstract expressionist living in New Jersey. First one man show of new work, Leo Castelli Gallery, New York, fall 1961.

    James Dine, age 35, major figure in “Happenings” in New York, (Car Crash, Rubin Gallery, 1960). One man exhibition, Martha Jackson Gallery, fall 1961.

    Andy Warhol, age 38, for several years a very successful commercial artist for top Manhattan fashion magazines, who, without exhibiting or even being thought of as a

  • Herbert Ferber

    From the size of this exhibition, the enormous cost of transporting and setting up the large number of works shown, as well as the lavish sixty-four page catalog, with its omniscient introduction by Wayne Andersen of the Walker Art Center, one would naturally expect to be viewing the work of a major and important contributor to the twentieth-century sculptural idiom, at least equivalent in inventiveness and performance to such artists as David Smith, Henry Moore and Giacometti. Add to this Ferber’s reputation for high intelligence and upright humanism, his friendship with some of the best artistic

  • Jeremy Anderson

    At his best, this artist is a mysterious image-maker who defeats any precise vocabulary of established ideas. Nothing in his work is as it appears to be, the images continuously slip, shift and change, but not as a result of any optical device, but rather of psychological ones. His simply carved, square and twin-turreted castle directly derives from ambiguous impressions of home, Kafka, tomb, womb, bomb shelter, cellar, hall, jail, chimney, penis, vagina, flags, well, moat, wooden horse, armory, army engineers semaphore tower, torture chamber, Europe, and Castle Line. These fleeting impressions

  • Anthony Martin

    First one man exhibition of this young painter who shows low-keyed, loosely painted, very academic abstract expressionist work, sometimes figurative, visceral or completely abstract.

    John Coplans

  • Mona Beaumont

    This exhibition consists of two very unimpressive paintings, both hard edged, but poorly executed and quite superficial, plus a number of figurative drawings made on engineers multi-colored paper, which are figurative illustrations and totally lacking in plastic wit or content.

    John Coplans

  • Bryan Wilson

    Wilson at one time studied ornithology in a serious way and continues his ornithological interest in his art. His work consists of a sparse and well placed, simplified bird or animal imagery, painted in a very limited, but pleasing low-key palette of a distinctly oriental flavor. His work, elegant, refined and cultured, is distinctly personal, but this is through suave and careful handling of the subject matter rather than any poetic insight.

    John Coplans

  • “Two Man Exhibition”

    Sacha Lioutikoff’s paintings of heads and flowers are painted in a bold, well-organized and unsentimental way. Kathleen Cross, a young California artist, shows unexciting and unadventurous abstracts of swirling forms laboriously painted in muted color.

    John Coplans

  • Art Grant

    Large vigorous portraits, loosely painted in high-key color that verge on caricatures. Assembled junk and carved wood sculptures of the human head.

    John Coplans

  • Reuben B. B.

    An obviously sincere and hardworking artist who paints a wide variety of subjects, but totally limited by any real insight into art.

    John Coplans

  • Dennis Hill

    This artist, in his first one man exhibition, shows a small group of oils, a construction, and a number of mixed-media drawings. The drawings, on deliberately crumpled paper, are delicately stained and worked, and this young artist ought to recognize how complete they are. By showing them alongside his lugubrious oils and trivial construction he devalues his own art. In the upper gallery Edgar Millhauser exhibits a series of photographs of a high school orchestra. They are an excellent example of photo journalism, lovingly composed.

    John Coplans

  • “The Nude: Drawings by Alvin Light, Manuel Neri, Gordon Cook, Bill Brown, Joan Brown”

    The museum in pre­senting this exhibition avers that the drawing of the nude is a particular and special activity of Bay Area art, which for those who know the outside world is poppycock.

    Light, an abstract woodcarver, draws a series of roomscapes in India ink, peopled with docile nude nymphets. Related to his sculpture only through the overallness of his handling of his image, the subject matter might be taken as an indication that he is short on sex. Since there is nothing abnormal in that––most men are, or imagine they are, the prissy refinement of his imag­inings is merely dull and illustratory.

  • “Jaques Overhoff: Sculpture for Architecture”

    This exhibit highlights the problems involved in specially commissioning and designing sculpture for incorporation in build­ings or their close environment. For Overhoff is a specialist, in the sense that given a predetermined site he specifically creates abstract, but or­ganic forms, carefully related in scale and material to the host building. Since this is a review of Overhoff’s work, it is not the place to discuss the formal question of whether a truly creative building requires this form of com­missioned decoration, except to state that the fusion of commissioned art­works of any kind with

  • “Photography”

    Sixteen photographers exhibit: Gini Leonard, Phiz Mozesson, Eugene Anthony, Ruth-­Marion Baruch, John Caminiti, John Collier, Imogen Cunningham, Hansell Mieth, Otto Hagel, Dorothea Lange, Ernest Lowe, Joe Munro, Miriam Young and Allen Willis. Each show a number of works linked by a theme such as Women Shoppers, Beginnings of a Wom­an, Unemployment, etc. With one ex­ception these photographs are mostly sentimental social documents, inocuous images of the innocence of childhood, toiling workers, exploited field hands and poor foreign peasants. The excep­tion is one solitary and unrepeatable

  • “American Painting”

    One expects the title “American Painting” to be exclusively reserved for particular creative contributions emanating from this continent. This exhibition, organ­ized and shown by this major Bay Area museum would incite howls of derision if shown under its present title in any other metropolitan center. Hung in three rooms, the work is divided into two rooms of predominently derivative figurative work pre-1945 in look, and post-1945–type painting in the third room. Somehow or other an impressive and beautiful Tanguy, an absolutely French painter, creeps in under this title. An exception to the

  • Panama Canal Anniversary Exhibition

    The open­ing of this noncommercial gallery by three artists, Luis Cervantes, Joe White and Ernie Palormino is an important event in the cultural life of San Fran­cisco. In its first group show by seven­teen artists the works have an avant­-garde quality not normally found elsewhere in private galleries or institutions in the Bay Area. The works displayed also reflect unconcern with traditional ideas of a work of art being a thing to be possessed, categories separating ce­ramics, sculpture, painting or drawing, the idea of culture as information or traditional aesthetics of materials. Seymour

  • “European Prints”

    This small and choice exhibition shows many artists of the School of Paris, all more or less well-known. A bright, witty and humorous lithograph of Picasso, a small but excellent Arp linocut (have you ever seen a bad Arp?), a first-class Dubuffet lithograph, an impressive Soulages aquatint that has none of the over-refined polished sophistication of his paintings, as well as such household names as Leger, Tamayo, Bissiere, Hayter, Poliakoff, etc. The American equivalents in stature of some of these European artists would be Jackson Pollock, Franz Kline, Clif­ford Still, David Smith and so on.

  • “Angel-Hipsterism, Beat and Zen Versus New Materials”

    The San Francisco Museum’s summer gargantua entitled “Arts of the Bay Area” is a broad front local review of all the artistic activities (other than certain very important developments in film making) taking place at the present moment. The painting and sculpture section follows the general format of the total exhibition, revolving each month with a new installment of a small group of works by each artist exhibited, as against the more usual one-man-one work method of display.

    Such an exhibition is an invitation to sort and group the ideas motivating artists here, but the first installment took