Marilyn Hagberg

  • John Baldessari, Jack Boyd

    The San Diego Art Guild’s first All-California Exhibition at the Fine Arts Gallery (it used to be called, and restricted to, California South) is a striking and provocative show, despite the fact that juror Wayne Thiebaud has unfortunately selected some “junk” along with a lot of high-quality work in weeding 100 paintings, sculptures and drawings out of 600 entries from artists throughout the state. The show is intriguing, nonetheless, and has some interesting characteristics. It is dominated by San Diego and Los Angeles artists. Although he’s a painterly painter himself, Thiebaud has picked

  • San Diego

    If its occasional bombs were carted away, the 1966 “20th Century Realists” exhibition at the Fine Arts Gallery would be one of the best annuals yet arranged by San Diego Fine Arts Festival, which has gathered some 80 paintings and a few drawings by 16 prominent past and present American realist artists. The exhibit’s biggest coup is Andrew Wyeth, who is represented by an interesting early tempera, Coldwell’s Island, and six superb watercolors. Also excellent are two large oils by Reginald Marsh: Subway––14th Street, a vivid, satirical painting, and Ten Cents a Dance, of a group of gaudy, garish

  • San Diego

    At La Jolla’s Jefferson Gallery is a dramatic two-man show of paintings and drawings by former San Diegan (he now lives in San Bruno) Fred Holle and oils and sculptures by Sheldon Kirby. There is a broad gulf between the large and little works of Holle. His black-and-white and pastel drawings are sensitive, semi-classical, delicate figure studies in which the artist proves himself a master draftsman. His recent oils, on the other hand, are as violent in aspect as the sketches are gentle. Curiously elusive—they are deliberately incomplete—these are striking portraits, dark, moody and finely-wrought,

  • San Diego

    Although he’s a serious, versatile and accomplished painter, Richard Allen Morris sometimes likes to be the funny man of San Diego artists. His Gun Room at the La Jolla Museum of Art is probably the most amusing, tongue-in-cheek exhibit he’s yet put before the public. Cheerfully—and per­haps irreverently—hung by Morris him­self, the show is entirely painted (oils mostly, with some watercolor, tempera and chalk pieces) and assembled pistols, all of which point left—at another pistol.

    The paintings range from huge to tiny, with one gun for each canvas or sheet of paper. Some are displayed in rickety,

  • San Diego Artists

    Approximately 50 works from 1950 to the present comprise a retrospective exhibition of Chicago’s George Cohen at the La Jolla Museum of Art, where Cohen is also on hand as artist-in-residence throughout the run of the show. The exhibit is broken up into seen classifications: emblematic, figures, figures in groups, recent paintings of large groups, constructions, “phenomenology of mirrors,” and reliefs and flesh paintings. The human body, in most cases the female figure, dominates all of them, and for descriptive purposes the pieces can be divided into two categories: paintings and constructions

  • San Diego

    In a one-man show of recent works, at Orr’s Gallery, Missourian Kent Addison seems more like several sculptors than one; his widely different structures range from the purely decorative to the powerfully dramatic.

    In the former, Addison plays with black welded steel, shining solid brass and rare crystals (amethysts mostly, and white quartz and pyrite) to form birds, flowers and fish that need only the addition of paint to grow gaudy. They are, however, fascinating for the clever way in which the sculptor has combined stone and steel with marvelous natural textures and color tones and has balanced