John Coplans

  • “Drawing International”

    This exhibition is noteworthy, not for its content, but its omissions. It consists of one hundred drawings selected by Gordon Washburn during his perambulations around the world to pick the last Carnegie International.

    Statistically, at any rate, the British are the topnotch draughtsmen. They are represented by eighteen items, with the Japanese as close runners up with fourteen items. Evidently American artists don’t draw, or if they do, they are not worthy of inclusion, other than the two items by Keonig and Masurorsky.

    The overwhelmingly large British selection amply demonstrates the organizational

  • The 81st Painting Annual

    It is depressing to see an important Museum’s walls plastered with such obvious trivia, tripe and blatent cookery . . . fakes of Pollock, Tapies, Braque, Giacometti, Burri, etc. With students work wallowing in unabsorbed influences such as “my reflections in a window” of Robert Bechtle—crammed with derivations from Giacometti and Bacon via Oliviera; with a slice of Diebenkorn thrown in. With deliberate and obvious jokes such as Adventure by Yloh Wok, (Holy Kow). Out of the one hundred and twelve works exhibited an occasional painting shines through such as One of the Insecta by Sophie Saras.


  • Casey Sonnabend

    In comparison with the usual highly technical and slick photography with which we are used to being barraged by in all printed media, here is the work of a man with a poet’s eye. Intensely aware of human suffering, his photographs, skillfully composed, are without sentimentality. Quietly and with care they isolate and record a moment of penetrating vision.

    John Coplans

  • Mel Brenner

    These landscapes of Brenner’s are the most exasperating kind of painting to have to look at, let alone review. So happily middle of the road, without any excitement, plastic adventure or committal.

    John Coplans

  • “The Art of Assemblage”

    William Seitz, one of the Museum of Modern Art’s perpetual category makers, has assembled a huge, lavishly catalogued exhibition, only part of which is shown here. Seitz’ purpose seems to be to relabel what is neo-dada as “assemblage.” Presumably his intentions are of the best and meant to rebut such pundits as Canaday and other odd characters such as Dr. Longman, Chairman of the U.C.L.A. Art Department, both of whom are considered as jokes by artists. Longman, in fact, is thought to be anti-art. The catalogue describes the objects as: 1. predominantly assembled rather than painted, drawn,

  • Wilfrid Zogbaum

    Zogbaum’s sculpture transcends any attempt to categorize it. This is the innate, mysterious and unique quality of any good art. The perpetual efforts of art pundits to create pegs on which to hang their own pet theories artificially divides the indivisible; for great art is an experience which transcends categorization. That which has profound meaning on its own cannot be restated—thus the dilemma of art criticism. Zogbaum’s sculpture is a rare experience in contemporary art, not because of his technical virtuosity but the holistic* quality of his imagery.

    But, even technically, few contemporary

  • Angelo Ippolito, Harold Paris

    In the past year Ippolito has executed a large number of very striking abstract collages. These were an investigation into the creative act, directly worked, ripped, altered, over-pasted and torn —the image emerging immediately from the process, but continuously subjected to dissolution and re-creation at will. Executed in black and white with the ambiguous quality of the gray, blurred newsprint, they have an extraordinary sense of scale and presence. The paintings shown do not contain the same excitement or vibrancy, except perhaps Lenox Avenue, the largest of the lot. Harold Paris exhibits a

  • “Hunters of the North”

    This museum stores the largest and most important anthropological collection west of the Mississippi, over four hundred thousand items in all. It has no permanent display of its treasures, but concentrates on a series of revolving exhibitions with a theme, currently showing the artifacts and art of Alaskan Eskimos collected in the last quarter of the 19th century before the native ways of life disintegrated under the impact of Western civilization. One aspect of this exhibition poses a fascinating question: what factors influenced these people, without a written language, living in the timelessness

  • Henri Matisse

    This much heralded, and, lavishly catalogued exhibition of large gouaches created by Henri Matisse between his eightieth and eighty-third year, sentiment and nostalgia apart, leave one strangely unmoved, especially by comparison to his 1905 masterpiece. Woman with a Hat, exhibited in the adjoining Stein collection. It is the works of this earlier Fauvre period that insures Matisse of his place as one of the most important contributors to 20th Century art.

    John Coplans

  • “Reproductions of Rembrandt Drawings”

    A large exhibition of collotypes of Rembrandt drawings which are claimed to be exact reproductions of the originals. Rembrandt never intended these drawings either to be shown or valued as works of art. What makes them have particular interest is that they deal with one of the most crucial goals of the artists of our time—the necessity to break down the time barrier between thought and action. The drawings are a record of how Rembrandt was able to see, feel and respond in a direct, immediate and spontaneous way. It is an ironic thought that if he had realized that they were to be valued as

  • Julius Schmidt

    Exhibits four drawings and fourteen iron castings. Schmidt makes an issue of his craftsmanship, rather than his art. Onto simple, but elegant shapes go columns, heads and shields. He creates richly decorative surfaces by working directly on his casting core. The subsequent forms are cast into iron, this pedestrian material becoming strangely beautiful in his skilled hands. His art seems to be that of isolating and recreating for the viewer the intense nostalgia of time worn surfaces.

    John Coplans

  • “Prints, The Californians 1962”

    Printmaking today offers a refuge for those artists who do not want to face the challenge of the central problems of art. The terrific mystique, signed editions, proofs, hand made papers and the Print Council of America, attempting to define what is, or is not, an original print, serve to blur the distinction between art and technique. Rico Lebrun’s print seems typical of the resulting confusion. From the point of view of art, why not just make drawings? But Shapiro, with his aggressive black and white images, stands out amongst the remaining top-drawer handlers of the technique.

    John Coplans

  • John Rood

    Exhibits a number of tachiste sculptures made by investigating new processes. With unusual technical skill he creates forms comparable to those found in ocean grottoes, reminiscent of clusters of weird sea weed, and eroded coral formations. Finally Art beats Nature!

    John Coplans

  • Jean Halpert-Ryden

    Pedestrian paintings of a European journey. The great and mysterious discoveries in art since the turn are bypassed except for a barely imperceptible nod that cubism once happened.

    John Coplans

  • S. C. Yuan, Sutter Marin and Nicoud

    Three painters showing recent work. Yuan is a craftsman who paints portraits, abstracts, the sea, landscape, and ships. Sutter Marin paints whimsical dreams and Nicoud paints weak derivations from Renoir.

    John Coplans