Thomas H. Garver

  • 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

  • Stephan Von Huene

    Stephan Von Huene’s exhibition at the Los Angeles County Museum consists of four pieces placed in one corner of the Museum’s recently reinstalled Contemporary Art section, which now occupies most of the Museum’s top floor. At the time of writing, however, only two pieces were in place, Kaleidophonic Dog and Rosebud Annunciator. These two, plus Washboard Band and The Tap Dancer comprised the show.

    Since the mid-sixties, Von Huene has been experimenting with music and musical systems which have, in his present exhibition, been built into his sculpture at the expense of “unique” form. All the objects

  • Doug Edge

    Doug Edge’s objects are crafted slowly and make their public appearance equally slowly. This exhibition, the artist’s first show in some time, is sparsely populated, comprising only five objects and Edge’s photograph Self-Portrait of a Shave and a Haircut which, through the medium of a “4 poses, 25c” photo machine, documents his eight step transformation from long hair and beard to baldness rivalling a peeled egg.

    The five objects themselves are agglomerations of Edge’s life experiences transferred to plastic. The smallest piece in the exhibition, a “Tru-temper” hammer reconstructed in plastic,

  • 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

  • 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