print Summer 1977

Sean Scully

Think of stripes. Think of Noland. Think about taking all of Noland’s colors—mush them together—come up with a color that looks like a muddy background grayish color for a Dutch Masters portrait—give it to Sean Scully and he’ll give you a painting that is more than just handsome—it’s significant.

Scully’s large gray-made-up-of-much-more-than-just-black-mixed-with-white horizontal striped paintings are built-up one- and two-layer thicknesses of alternating bands which create a physical foreground and background. The background is one layer of gray paint, the foreground two. The differences between

print Summer 1977

Louis Cane

Une peinture cultivée translates as: a cultivated painting—that is, a cultured painting, a painting which includes the culture of its own history and depends on the viewer’s culture, knowledge and perception for maximum appreciation. An exchange of cultural information via the art object. According to Louis Cane, in creating une peinture cultivée, the painter incorporates his own culturalization to develop a universal signification via painting.

Cane’s work reflects such art historical sources as Uccello, Piero della Francesca, Masaccio, Titian and others, not literally, but certainly in its

print Summer 1977

Michael Vessa

Michael Vessa transforms the gallery into a dialectic playground for an intuitive investigation of two-dimensional and three-dimensional (both real and illusory) architectonic spatial relationships. His most recent installation piece consists of wall-size pieces of paper glued with packing tape to the wall (one on each of the four walls) on which are drawn two-dimensional renditions of a three-dimensional structure in quasi-mathematical perspective. Their freestanding counterpart—a 10-foot-square panel—stands virtually floor to ceiling. One side of the structure is varnished paper, the

print Summer 1977

David Reed

I love to see painters take chances. Stella did it. Johns did it. Many of the oldies and goodies have done it; many more have not. Continuing to learn and to develop one’s art is something always to be admired. Though David Reed’s break with his former convention may not be of the same consequence as Stella’s, the development is certainly venturesome and should be regarded with optimism.

Reed has broken away from his brushstroke-as-drawing motif contained within a vertical structure, to two horizontal panels: one brushstroke-as-drawing panel butted up against a conventional troweled-on color

print Summer 1977

Peter Reginato

Peter Reginato’s welded steel sculptures are fine examples of a consistent sculptural tradition, investigating concerns that carry through from Picasso, Gonzales and Smith. Although Reginato’s work over the past several years has gone from more contemporary to less contemporary to more traditional—a chronological step backward—these pieces are still well “put together.”

There are four large sculptures—three vertical structures and one horizontal piece. Reginato’s cut-out shapes are combinations of flat-against-curve-against-cylindrical forms. He uses both flat solid forms and flat open-shaped

Sharon Gold