Robert Pincus-Witten

  • Sam Francis

    The new paintings by Sam Francis are wall substitutes, huge, practically untouched canvas fields edged in fresh and bled acrylic passages. The bigness of these pictures, and their facility too, has grown out of an ordered, rational development and respond to a clear set of predeterminants. It is the a priori character of the new paintings which make them seem hollow, works whose real commitment to difficulty is effected solely in terms of the actual, tangible immensity of the canvas itself. Very likely Francis is going to be accused of lifting pictorial ideas (notably from Olitski and Frankenthaler)

  • Peter Gourfain

    Peter Gourfain’s exhibition would appear to have been an astonishing volte-face were it not that the drift of his present work is repeated among a wide front of artists of lesser and greater reputation—a shift in sensibility which knows no particular generational commitment either. Rejecting the elaborate fixation of his earlier arcaded registers, Gourfain opts for as intense an image as would be open to an art still based on classicizing premises and a sudden need for tactile immediacy. Instead of paint, Gourfain has taken up monochromatic pastel applied directly upon the surface of the wall.

  • Peter Agostini

    “Drawings and Small Sculptures from the ’40s to the Present” is an exquisite exhibition that does not attack a survey of Peter Agostini’s sculptural contributions on an ambitious scale. Economic and organizational problems forestall such an examination to a later time. The Radich installation focuses instead on the small product, the clay statuette, the overlooked plaster, the small bronze, and, most importantly, a broad run of drawings which traces Agostini’s, many felicitous alterations of the Surrealizing Expressionist style, developed here during the Second World War. In the earliest work,

  • Joe Brainard and Paul Thek

    In my criticism I have tried to avoid merely gratuitous observations—for reasons that are evident, not the least of them being the futile vanity inherent in calling shots. Still, I would like to record my negative response to the recent exhibitions of the work of Joe Brainard and Paul Thek if only because their present offerings may render doubtful the claims which have already been put forth in defense of these artists. Joe Brainard, some four or five years back, if I remember correctly, attracted the free spirits easily moved by the surrealizing poetics of accumulations of cheap manufactured

  • Edwin Dickinson

    At least two major currents of American art unite in the work of Edwin Dickinson. On one hand a Whistlerian Impressionism emboldened by Chase, Henri and Hawthorne, and on the other, the intractable factualism epitomized by Eakins. One provides an immediate sensuous outpouring (which in Dickinson resulted in a large body of painting “au premier coup”) and the other a consuming humility before the thing in itself, for portraiture and for parascientific procedure. Like Eakins before him, Dickinson has a passion for perspective.

    Two figure pieces dominate the early selection, “Interior” (1916) and

  • Jasper Johns

    The history of the Abstract Expressionist Reaction, at least at its inception, is generally seen as a polarized dialogue between Jasper Johns and Robert Rauschenberg. The present exhibition, easily the most important so far of the current season, features four monumental combine paintings by Jasper Johns produced during 1964–1966 and which comprise the essential production of this period. Two of the works were painted in Johns’ Edisto Beach studio in South Carolina, two in New York City. In certain measure the locus of the creation of these works is sensible in the completed work itself. More

  • Charles Hinman

    Retreating from the geometric storm and stress which marked his dramatic entry into the present sculpture scene, Charles Hinman’s recent work is softened by a new lyricism, which at instants, veers dangerously toward the gratuitous arabesque. Frequently, the delicately scored edges of Hinman’s wall reliefs are mutant radial spirals, opening centripetally from disc-like pools. This is the case with a set of smaller works called “Sunspots,” as well as with “Red Scroll.”

    Hinman’s formal vocabulary is apposite to several contemporary trends and his synthetic powers are so marked and native as to make