Virginia Allen

  • Ed Carillo

    Carillo’s paintings and polychrome wood sculptures usher us into an eerie, timeless world where space capsules land in Beverly Hills swimming pools, snail-size dinosaurs cavort on garden walls, and tomorrow never comes.

    In both sculpture and painting, Carillo works with thin, translucent washes of brilliant color, then lacquers the surface to a high gloss. His obvious ease in the medium, plus courageous color sense produce jewel-tone surfaces of remarkable beauty.

    His imagery encourages comparison with other artist-fantasts—Hieronymus Bosch, for one. They seemed to have tapped the same inner source

  • “Whistler Prints”

    Forty-five prints were selected for this American Federation of Arts Exhibition by A. Hyatt Mayor, Curator of Prints at the Metropolitan Museum of Art, from the William P. Chapman, Jr. Collection of Whistler prints at Cor­nell University.

    This American expatriate, who ad­vanced the expression “art for art’s sake,” is probably as well known for his prints as for his paintings. He worked in several print media-lithography, etching, and drypoint—exploiting the particular virtues of each, to depict the scenes of his chosen London.

    Etching came first. Several examples from the 1859 series “Views of

  • Marie-Anne Poniatowska

    Ex-muralist and illustrator Marie-Anne Poniatowska has produced this group of incredibly facile drawings. Large in size and intri­cate in rendering, the rock shapes and skeletons are further enhanced by their sensitive placement on the page. These are not hastily dashed off studies or sketches, but rather painstakingly done independent statements.

    Working in black and white requires a particular kind of discipline from the artist, for the value range is bounded by absolutes. There is nothing whiter than total white (presumably the paper) nor blacker than total black. And these limits dictate the

  • Ryonosuke Fukui

    A mysterious process involving waxed paper stencils, textured metal plates, silk-screen frame and squeegee was used to produce this remarkable group of prints, which bear little resem­blance to prints made by any of the well-known processes. subtle overlap­pings of waxy, transparent colors provide backgrounds for line renderings, in the Oriental tradition of understatement, of two poppies, a dish of plums, and a chrysanthemum.

    It might be tempting for critics to call Fukui’s work precious or shallow. But one must beware of confusing pre­ciousness with delicacy, shallowness with simplicity. Fukui’s

  • “Prints and Drawings”

    La Cienega gallery-goers who think the action stops at Melrose obviously don't know O. P. Reed. Those who do know him apply such phrases as “nice guy,” “great storyteller of the Los Angeles art world, past and present,” and to this should be added “thoroughly knowl­edgeable dealer in prints and drawings.”

    His office (by no stretch of the imagi­nation could it be called a gallery) con­tains a cluttered desk, a few tables, pipe rack, boxes of prints, and a library of print reference books a museum would envy. There are also a few framed prints and drawings on the walls. Among these is an exceedingly

  • Richard Kozlow

    This exhibition marks the first showing of paintings by Detroit artist Richard Kozlow on the West Coast.

    Kozlow, who calls himself a “roman­tic, contemporary painter,” uses a va­riety of methods and materials—casein, watercolor, ink, gouache, frottage, and collage—to render the muted tones of his abstract landscapes. What is truly remarkable about these paintings is the variety of, for want of a better phrase, atmosphere effects created solely through the skillful handling of paint. Kozlow has the ability to capture the changing moods of nature as his land­scapes are exposed to such intangibles

  • Group Exhibition

    Cleopatra is the theme of this group of collages, paintings, and drawings. Most are by Joseph Cook himself, with a few done especially for the exhibition by his friends. The movie extravaganza receives most of the attention, with emphasis on the much publicized antics of Elizabeth Taylor and Richard Burton. One paint­ing-collage shows a man and a woman reclining on a beach. The female torso is rendered in sun-tanned oil paint, and topped by a paper cut-out of Elizabeth Taylor’s head; a white paper bikini par­tially conceals the famous curves. The rest of the show follows along the same line. It

  • Second National Invitational Print Exhibition

    As one tours the gallery, names of exotic media, such as masonite cut, color built up print, masonite intaglio, color plastic board, collagraph intaglio, color masonite intaglio, color paper relief cut, collagraph, color collage intaglio, built up print, and cellocut leap from the labels. Even the traditional media have taken on a new look. Surfaces of intaglio prints are thrown into deep relief; woodblock prints are heavily encrusted with layers of glossy ink; lithographs are printed from zinc plates, exploiting the characteristics peculiar to this substance, as well as from stone.

    Some of the

  • The Problem of the “Original Print”

    ON A RECENT VISIT to a local gallery advertising works of art for “elegant homes and prestige offices,” it became apparent that the problem of the signed reproduction still exists in the art world, despite several notable efforts to eradicate it. A framed picture, signed by Picasso, was propped against the wall, surrounded by a wealth of prints, drawings, and paintings by other notables such as Braque, Chagall, Klee, and Kandinsky. From a distance of ten feet (and considering its illustrious companions) the Picasso seemed an impressive multicolored still life. After closer observation and

  • “Old Master Prints”

    This superb exhibition is composed of some fifty frames containing old-master engravings, etchings, and woodcuts from the 15th, 16th and 17th centuries. The field of ornament prints is especially well documented, with superb examples by the Master of the Sforza Book of Hours (active 1485–1497) and Zoan Andrea (active 1475–1505), who separately and in collaboration produced some of the finest engraved ornament prints of all times, (Agostino Veneziano, Francois Boucher, and Jean Lepautre). Groups of prints by Rembrandt and Durer are exhibited, including the much sought “Melancholia” and “Nemesis”

  • Group Show

    An intimate and quiet atmosphere provides the perfect setting for examining this fine group of prints and drawings. The range is wide, including contemporary prints and illuminated manuscript pages of the 15th and 16th centuries.

    The gallery does not present shows as such but exhibits a variety of prints and drawings for the visitor’s examination and purchase. A wealth of additional material, stored in bins and boxes, is available upon request. One cannot help but notice the owner’s genuine enthusiasm and scholarly attitude. So far as possible, each print is documented with such information as

  • “The Graphic Work of Edvard Munch”

    Occasionally, one is privileged to see a near-perfect art exhibition, and the Edvard Munch show at the Pomona College Gallery is such a presentation. This extremely fine collection of graphic works by the famous Norwegian expressionist was first compiled by J. B. Neumann, then brought to this country by Ludwig Mies Van Der Rohe. Nine prints from the collection were shown in the Munch print show organized by the Museum of Modern Art in 1957, but the current exhibition presents the whole of the collection for the first time in this country.

    Each phase of Munch’s graphic oeuvre is impressively