Print-Sculpture Annual

The sculpture in this show is by far more impressive than the print-making, which seems to be heading in a direction given impetus by Llyn Foulkes in his Oakland exhibition last February: multiple images, a concern with the look of the photo both positive and negative, and undertones of the turn of the century.

Print award winner, Robert Bechtle, in his lithograph Smilin’ Through reverses the rainbow and the expression of the empty woman triple image who looks as if her morning cup of coffee didn’t really serve to take the grey out. A divided image and an interest in a photo-negative look is

print November 1964

Hansen Bang

Hansen Bang contrasts dark impasto calligraphy with transparent backgrounds for an orientalism that is derived both from Kishi, with whom he studied, and the abstract expressionism of Franz Kline. When he reverses this procedure and rubs a veil over the impasto image until it glows, his expression becomes more personal, authentic and successful. The Great Mogul and Meditation are examples of this latter technique.

One can also see here the work of Joseph Ullery, who runs the gallery and whose main claim to distinction seems to be that he is a discovery of Bill Fiset (an Oakland columnist who