Thomas H. Garver

  • Milton Avery

    This small exhibition of the late paintings of Milton Avery has been organized by John Coplans for the University of California, Irvine. Of the twenty-two works in the exhibition most were executed in the years 1958–1960 (Avery died in 1965).

    One’s first impression of the exhibition is its unpretentiousness. By contemporary standards the paintings are small and profoundly simple. Almost clumsy at times, Avery’s paintings are always “something,” a kernel of subject matter which is always available in even the most abstract works. In Avery’s earlier paintings there were sometimes clashes between

  • Frederick John Eversley

    Frederick John Eversley’s recent exhibition of cast resin sculpture at the Jack Glenn Gallery embodies for me most of the vices of high-class Los Angeles plastic light art.

    The bulk of the exhibition consisted of a number of centrifugally cast-plastic resin discs, approximately two feet in diameter and six to eight inches thick. These discs were of several configurations, rather like lenses. One configuration was a double concave lens producing a powerful reducing effect as the eight-inch rim thickness diminished to an inch or less in the center. Another configuration was plano-concave—one surface

  • Peter Plagens

    Peter Plagens, well known to the readers of these pages, exhibited four large paintings in a loft called “Dawson Aircraft” in downtown Pasadena. Plagens, who for some time has been working with large sheets of paper (including roadmaps) pasted together and then painted, has in this exhibition turned (or perhaps returned) to a classical format; large horizontal canvases, five feet high by twelve feet long. The four works are formal and direct, very much in the high road of American non-representation. Large flat geometric areas of color are interspersed with smaller portions of intense painterly

  • Venice In The Snow

    Substantial attention is being paid to forms of exhibitions of art alternative to the usual gallery/museum experience. One of those forms has been wall painting, which has received no attention at all, at least in the official art press in Los Angeles, where a group of four artists, Victor Henderson, Terry Schoonhoven, Jim Frazin and Leonard Korin, recently completed their third major painting, Venice in the Snow, on the side of Jackie Greber’s and Ed Moses’ studio on the oceanfront in Venice, just south of the Venice Pavilion.

    The Fine Arts Squad began informally some two years ago when Schoonhoven,

  • Los Angeles

    Although artists are what count in the long run, the styles, tastes, and fates of the galleries are at least semi-crucial in a scene as continually precarious as Los Angeles. A couple of months ago, I ungenerously labeled Eugenia Butler’s establishment an emporium of “ideological entertainments”; since then the character of the shows (at least the last two) have changed in that the art has gotten more physical, visual and, I think, better. Richard Jackson is basically an Abstract Expressionist painter, but he’s been influenced by a number of things, among them anti-art (or, anti-pretty art) in

  • Donald LeWallen and Dennis Ashbaugh

    Late last spring, Jack Glenn, a businessman transplanted from Kansas City, opened his gallery in Corona del Mar, a sun, fun and surf community south of Los Angeles. Eschewing La Cienega Boulevard as too smoggy and about to be bisected by a freeway, Glenn felt that anyone wishing to buy the sort of art he handles wouldn’t mind the hour’s drive from Los Angeles. Glenn’s Gallery is a bit of chic appreciated by the California south of Los Angeles—hip deep gray carpet-ing and beige suede cloth on the walls to which pictures are attached by Velcro strips. Esthetically, the gallery has the flavor of

  • William Tunberg, Laddie Dill, Allan McCollum, Andrea Brown and Mary Kutila

    The “Venice, California” exhibition has been organized by Josine lanco, ex-director of the late Lytton Center of the Visual Arts. William Tunberg is a fetish builder, combining sexual funk and other odd bits of urban detritus, fake fruit, eggs, shoes, etc., etc., within boxes of “display stands” finished in the true hot rod manner with silky smooth pearlescent surfaces. Tunberg’s work relates to both San Francisco and Los Angeles esthetics, but has never been very well received here. His craftsmanship is impeccable and he is perhaps most successful in the pieces which do not emphasize either

  • “Dimensions of Black”

    “Dimensions of Black” is a curious. sprawling exhibition documenting the work of black artists both contemporary and historical. It was organized in a major group effort by Jehanne Teilhet, an Assistant Professor of Art History at the University of California, San Diego, and a large number of students, black and white, from the University. Teilhet and her students raised about $40,000.00 for the exhibition from private and foundation sources, selected the work, assisted in the installation, and wrote much of the catalog (which at this writing has yet to be published).

    The general premise of the

  • Billy Al Bengston

    Billy Al Bengston’s exhibition at the Mizuno Gallery is his first since a major retrospective exhibition of his work was organized by the Los Angeles County Museum of Art in 1968. The installation of the County Museum exhibition was so arranged as to destroy Bengston’s paintings as objects of Kunstwissenschaft. The present exhibition’s presentation heightens the sense of mystique one felt at the County Museum. Of the dozen or so works exhibited, all but three could be seen only by candlelight, a makeshift gesture with makeshift candelabra which serves here only to obscure the luxuriousness of

  • Donald Eddy

    Donald Eddy is a figurative painter, a “new realist” who airbrushes his paintings. For the past several years Eddy has been living in Hawaii, and this exhibition deals with the old people, retired or on vacation, who frequent the islands. Like the work of Joseph Raffael of a few years ago, Eddy isolates his forms and figures against a white grounds, although Eddy’s paintings deal with only one object and are not juxtapositions of disparate forms. The old people serve as foils for the objects within their environments, although these objects (picnic tables, park benches, automobiles) would seem

  • Michael Todd

    Michael Todd, who has been on the faculty of the University of California at San Diego for the past year and a half, has been given the central courtyard of the Salk Institute for Biological Studies in La Jolla as an exhibition space for an indefinite period. It is a curious setting for sculpture. The building designed by Louis Kahn is “perfect” in its form and detail, a massive and calculated medievalism set on the bluffs above the Pacific. The two four-story blocks of offices and laboratories constructed of concrete and weathered teak fall upon an open court, paved with slabs of travertine,

  • Eric Orr and Howard Flemming

    About two years ago, Eric Orr, a sculptor who describes himself as an environmentalist, began a modest experiment with the class of high school students he taught at the Los Angeles Junior Art Center. Orr had become fascinated with the structural and spatial possibilities to be found within controlled sound sources and sound inputs. Demonstrating that it was possible to define shapes and spaces quite precisely if impalpably with standing waves and patterns of interference of one sound source operating against another, Orr proposed to his class that a tunnel be constructed which would be lined

  • Michael Asher

    The La Jolla Museum of Art is undergoing an image transformation under a new director, Tom Tibbs and assistant director, Larry Urrutia. The Museum is now organizing a number of low pressure exhibitions of Los Angeles area artists. Last month a single work of Robert Irwin’s was exhibited, one of the recent plastic discs, shown isolated in a long, low-ceilinged gallery. This gallery has now been transformed into an environment designed and constructed by Michael Asher. The room has been only slightly altered. The floor was covered with thick white shag carpeting—a favorite California tract house

  • Lloyd Hamrol

    Hal Glicksman, late of the Pasadena Art Museum and Los Angeles County Art Museum, is the new director of the Pomona College Art Gallery. He is giving the major space of his gallery during the next year to five artists who have the option to work, exhibit, or work and exhibit there in turn. The first of these artists in gallery residence was Lloyd Hamrol who chose to construct an environment within the space, which remained in place for a week. However, in keeping with the spirit of the project and to make himself available to Pomona students, Hamrol conducted experiments in the space before

  • James Byars

    “Byars at Butler,” a two part performance/environment, was organized by James Byars into two segments, each lasting five days. The first part, “Walling up Jenie,” called for the removal of the gallery name from the building and construction of a wall between the gallery space and Eugenia Butler’s office. The gallery was painted white with the exception of the new wall which Byars ordered painted bright red. Eugenia Butler was not permitted in this space, and had to enter her office by the back door. This first portion of the rite of James Lee Byars might be regarded as a purification to rid the

  • Bruce Conner Makes a Sandwich

    THE ARTIST’S KITCHEN IS ON the third floor of a Brookline, Massachusetts, apartment house. The room has a north window and a west window, a north door to the porch and an east door to the hallway and a south door to a small pantry passageway. There are yellow and white cotton curtains in the doorways. There is a closet with a cupboard in it. Yellow walls, white woodwork. White and silver linoleum floor. Cardboard box on the floor. A yellow wastebasket. A round wooden table. Red roses on the table. A white chair with a pink, blue and white pillow. A stool with a yellow butterfly print checkered

  • Richard Diebenkorn, Richard Tuttle, Douglas Huebler

    The new paintings of RICHARD DIEBENKORN shown during the summer at the Los Angeles County Museum of Art are one of a series of “mini exhibitions” organized by Maurice Tuchman’s staff, an unpretentious program in which previous exhibitions have included Burgoyne Diller and George Brecht, and future ones will be devoted to Stephan Von Huene and Dan Flavin.

    The nine Diebenkorns in the present exhibition are all part of the Ocean Park series, painted in a part of Santa Monica which borders on Venice. All were painted in late 1968 and early 1969 and all are non-representational, Diebenkorn having quit

  • Edward Moses

    Edward Moses’ first show in five years (at the Mizuno Gallery) is composed entirely of lithographs executed at the Tamarind Lithography Workshop last year. Moses’ training and experience as an architect is clearly evident in this work which resembles architecture in its structure, but not in the impalpability of its color relationships.

    Although not particularly happy at having produced works which were printed (and thus not unique), Moses found it was possible to achieve the color clarity and diffusion he desired only through a graphic process. Moses answers his disaffection with the graphic

  • Allen Ruppersberg

    Eugenia Butler has re-established herself in her own gallery and has opened with the first one-man exhibition of Allen Ruppersberg. Ruppersberg reorders natural forms by reducing and rearranging them. The sparsely installed exhibition consisted of six pieces exhibited in the gallery, and Location Piece, a large construction built and exhibited in a tacky Sunset Boulevard office building several miles from the gallery.

    In the gallery, the most arresting work, Floor Piece, consists of four low muslin-covered boxes about two feet square and eight inches high on which are arrayed a single round grey

  • George Herms

    The metaphoric title of George Herms’ first exhibition in several years is “Wooden Moonbeams,” a title which might be derived from one of Herms’ own poems. The objects exhibited are intimate in scale and quite formal in organization. “Wooden Moonbeams” are built on smallish square pieces of wood, divided along the diagonals to form an “X” shape. The structure is painted in a flat color, usually black, and the four triangular “rooms” are populated with objects selected both for their appearance and powers of literary evocation.

    One of the best such pieces is Wooden Moonbeams No. 7 and 8, subtitled