Roberta Smith

  • Peter Campus

    Peter Campus exhibited a closed-circuit video piece and a videotape in his second one-man show. In the closed circuit piece, Stasis, two video cameras with an enlarger project two images of the viewer onto the wall. One of the cameras is pointed through a turning prismatic device which causes the image to also rotate; the other image is stationary. The cameras are placed at different elevations and at slightly different angles. This means that the stationary image is generally of the head and shoulders while the rotating image includes more of the torso, and also that they never overlap exactly.

  • Mel Bochner

    Like most so-called Conceptual art, Mel Bochner’s work has always had its perceptual and visual aspects, the most basic of which emanate from little more than the attractive quality of his handwriting or his choice of mundane but appealing material. His floor pieces have often functioned spatially, forcing one to change position in order to decipher them. In The Axiom of Indifference, from his exhibition here last year, such movement was combined with the impossibility of seeing the entire piece at once and a consequent straining and splitting of memory and vision.

    In his most recent one-man

  • Roger Welch

    The announcement for Roger Welch’s exhibition read: “On four consecutive Saturdays, the artist will work with a person born before 1890. Drawings, diagrams, and constructions will be made to illustrate what they can remember about their childhood hometowns.” The persons and towns were Ruth Elliott, 87, on Hannibal, Missouri c. 1900; Harry Lieberman, 96, on the village of Ginivashov, Poland c. 1890; Laura Connor, 81, on Marshville, North Carolina c. 1900; and Winifred Wakerly, 94, on Rome, New York c. 1890. On each Saturday visitors could listen and watch as Welch, with the guidance and supervision

  • Jud Nelson

    Jud Nelson’s work, seen in his first one-man exhibition, can be reduced almost entirely to several other artists’ ideas; it is the combination which I find so unlikely. Six white folding chairs are arranged in a row which is in line with a window, almost the only light source for the room. The wall behind the chairs is medium gray. Light falls on the chairs in progressively decreasing amounts; the furthest from the window is a completely different white than the first, and the structure of each is differently and maximally articulated by the amount of light which hits it. The chair becomes a

  • Floyd Johnson

    Floyd Johnson’s paintings are unstretched canvases in which concise, often multiple shapes float behind fluid stains of color. The result suggests a combination found in the early painting of Ron Davis. The combination in both painters seems somewhat artificial, an obvious attempt at some kind of universal duality, although Johnson’s is more mystical and Davis’ more formal. In Johnson’s case, the elements combined are often among the worst of those possible. The geometry is too often complicated and decorative in an attempt to also be organic; the fluid areas too often suggest Paul Jenkins at

  • Jared Bark: Photo-Booth Pieces

    JARED BARK HAS SOUGHT TO emphasize the discrepancy between intention and result in his work through the deliberate choice of an awkward technique or unwieldy tool. This concern is apparent in Bark’s paintings, where the configuration is initiated by firing an air rifle into a plane of glass, which were exhibited last spring at 112 Greene Street (see Artforum, September, 1973). It is also apparent in a more personal, eccentric manner in a series of photo-booth pieces Bark has been working on for the last five years which are as yet unexhibited.

    At first, the photo booth was a convenient way to

  • On Daniel Buren

    DANIEL BUREN, A FRENCH ARTIST, exhibited work at about ten sites throughout New York City under the auspices of the john Weber Gallery. Since 1966 Buren’s work has consisted of vertical stripes alternating white and one color on paper or canvas. The width of the stripes is constant, always 8.7 cm.; the color varies randomly from piece to piece: red, gray, brown, green, blue and so on. In this particular instance all the work was printed on paper stuck to various internal and external surfaces around the city, many of them strategically located in SoHo. The size of each piece varies according to

  • Peter Hutchinson

    In his article “Beware,” Daniel Buren writes, “In order, no doubt, to get closer to ‘reality,’ the ‘conceptual’ artist becomes gardener, scientist, sociologist, philosopher, storyteller, chemist, sportsman.” The quote is applicable to Peter Hutchinson’s most recent show at the John Gibson Gallery. Hutchinson has become mostly a storyteller; working with video, photograph, and writing, he narrates anecdotes. One of the more interesting pieces, and among the least anecdotal, is one called The End of Letters, a photographic record of the making and destruction of all the letters in “THE END.” ‘T’

  • Jared Bark

    In his first one-man show, Jared Bark exhibited a number of paintings made of glass over Masonite and paint. Bark breaks the glass by first shooting BBs into its surface and then manually extending and forcing the resulting cracks. Originally and still in four of the 11 works shown here, Bark used the patterns of constellations to determine the placement of the shots. In the majority of the more recent work, Bark has dispensed with this device and is merely attempting to divide the 4’ square of glass over Masonite in various ways: with a cross, an “X,” a circle, a triangle, and so on. In either

  • Rosemary Mayer

    Rosemary Mayer showed three pieces and a number of drawings in her exhibition. Mayer works with fabric which she hangs and drapes from poles, the ceiling, and walls. In Hroswitha, five long poles curve down from the ceiling, spreading out to points on the wall. Red and black cloth and white netting are draped in three horizontal tiers from pole to pole. An asymmetrical piece, The Catherines, curves out from the wall and combines several colors and kinds of materials, both opaque and transparent, in overlays which result in complex mixes and alterations of the color and textures of the individual