Robert Pincus-Witten

  • Nicholas Krushenick

    Nicholas Krushenick clearly is an artist of slick professionalism yet, within the larger issues of present-day pictorial consideration, the deficiencies of his pictures grow more palpably visible than his once self-evident virtues. Krushenick’s assorted vestiges of the Pop campaign—word balloons, lightning flashes—are inflated to the scale of history painting, and in their inflation more glaringly reveal the current balefulness, albeit gaiety, of his production. More than in any previous exhibition does Krushenick’s work appear to be a contingency of Roy Lichtenstein’s.

    The new compositions are

  • Robert Mangold

    Robert Mangold is a tease. His one-man shows and occasional pieces in group exhibitions all hermetically confront the viewer, wait for the viewer to “give up,” which usually happens quickly, and then they don’t give the secret away. In short, Mangold is a professional magician. The current act runs as follows: seven pieces are exhibited in a large cement gallery. The pieces are composed of arc sections, circle fragments (like pie wedges) and other Mangoldiana such as chasuble shapes. The works are cut out of masonite and sprayed in matte colors of a neutral run—oysters, off-whites, greys, beiges

  • Gaston Lachaise

    The retrospective exhibition organized by the Gaston Lachaise Foundation has at last arrived in New York City after touring these past two years and it is an event of capital importance––although it may pass relatively unnoticed. The oeuvre of the French-born and naturalized American sculptor who died in 1935, with its phenomenal mid-career shift from an extreme of classical poise to an unparalleled hedonism and sexual expressionism, is one of the most curious, nagging and still only superficially considered productions of a self-evident genius.The Foundation’s recent casting of unknown late

  • Walt Kuhn

    Apart from relating picaresque details of Walt Kuhn’s life—learning tap dance from Pat Rooney II, Making It on the Great White Way, few of Frank Getlein’s claims made in the Kennedy catalog are sustained in the exhibition proper (though, perhaps, to categorically deny them might be equally grandiloquent). The disparity between essay and exhibition owes to the fact that by and large the hanging is composed of paintings that come from the last decade of the artist’s life. To put the matter bluntly, one gained the impression that the Kennedy Galleries were “pushing” the work of the forties (Kuhn

  • Duayne Hatchett

    Duayne Hatchett, at the Royal Marks Gallery, deals in grim totems. His cleanly forged steel pieces are static, symmetrical along the vertical axis, and look for all the world like the idols of some machine cult. The bodies of Hatchett’s figures—they lend themselves to biomorphic reading despite the artist’s pronounced gift for abstract reduction—are composed of two units, one comprising the head and chest, the other a leg-like base.

    Hatchett favors a constant relationship, namely the circle side by side. The upper unit is frequently based on this double formation, signifying, possibly, eyes,

  • Richard Randell

    Having been interested in Richard Randell’s earlier Klapper pieces which I greeted enthusiastically (Artforum, February 1967), I was curious to see in which way these pleated, concertina-like structures would move. While the Klapper motif is still evident in Randell’s new sculpture of brightly colored fiberglass epoxy, his up-to-date pieces appear merely funny and ribbon-candylike in an all too pat mini-pop mode. Brightly colored ups-n’-downs pleasantly investigate space—sometimes with a touch of stringent theory to them, such as when Randell combines sequences of similar units. The new Meanders

  • Jack Zajac

    Jack Zajac is yet another victim of High Polish. In his case this predilection is a thousand-fold more delightful than the anguish of the School of Rico Lebrun to which Zajac had earlier adhered. Zajac’s new columns are bronze and marble cobra-like sheaths related to the form of running tap water. In a unique piece the liquid theme is transposed into that of a small crested wave, smoothly polished out of marble. All these sheens and liquefactions are indeed quite handsome, if terribly facile.

    Robert Pincus-Witten