Whitney Halstead

  • Henry Moore

    In December the University of Chicago dedicated the large Henry Moore sculpture, Nuclear Energy. Erected on the site of the first nuclear chain reaction the setting has yet to be completed and the interaction between the piece and its surroundings has yet to be determined. Although not overlarge in size (its 12-foot height being about one quarter that of the Picasso Head at the Civic Center) it is monumental in scale like so many of Moore’s works and appears to be a major sculpture in the artist’s oeuvre.

    Erecting sculptural monuments which are intended to commemorate historic events has become

  • Thomas Kapsalis

    Thomas Kapsalis showed what was almost a retrospective group of paintings at the Evanston Library during the month of December. Although some works were done (at least they were begun) a decade or more ago it must be conceded that no single date can be given to most of his paintings since they are often worked and reworked. This is typical of Kapsalis’s way of painting and the textures, and the surfaces, the colors and even the forms themselves do not remain stable but are “worried” into their present (not always finished) state. This may be an advantage in achieving his highly personal style

  • Chicago

    To open the exhibition season here the Hyde Park Art Center presented a show entitled simply “Wedge.” Contrasting with a long-standing local tendency toward the figurative, the show was emphatically abstract, oriented toward the minimal concept. The six artists included were Allan Boutin, John Brower, James Falconer, Robert Phillips, Dennis Subia and James Zanzi. Certainly the show was not programmatic and there was considerable personal variation within the theme. Brower’s painting with ladders was of interest in itself but it had little in common with the other works, and Phillips’s Light

  • Chicago

    For the past few months most of our attention was focused on sculpture, three events specifically. In August the large Picasso head was unveiled; for nine weeks (June 23 to August 27) there was a large exhibition of sculpture at the Art Institute; and early in the summer there was a show of the work by local sculptors, the seventh annual New Horizons in Sculpture at Marina City.

    This show, organized and sponsored annually by the North Shore Art League, included some 50-odd artists and was a lively if uneven group of works which ranged in form from the organic through the mechanically inspired

  • Chicago

    “The 70th Annual Exhibition of Painting and Sculpture by Artists of Chicago and Vicinity” was on view at the Art Institute of Chicago during March. The 75 pieces in the show covered the work of artists in this region in breadth if not in depth and it should be said at the outset that the show contains the highest percentage of good pieces of any of these annuals in recent years. Big omnibus exhibitions of this sort are a questionable way of evaluating a particular segment of work, but both tradition and the considerable amount of prize money (thought by some to be anomalous and anachronistic in

  • Chicago

    In a joint exhibition of painting and sculpture, the Hyde Park Art Center showed the work of Allan Boutin and Vladmir Bubulo. Bubulo’s sizable paintings are composed of flat areas of color curling over the picture area. With little pattern or development of line they are limited to shape, shapes which interact between subject and ground. The surface of these paintings marked by lumps and ridges of pigment could, conceivably play a part in the total statement but they do not, and such surface textures seem to be at variance with the painted forms, even a hindrance to their realization.


  • Chicago

    One aspect of Surrealism, especially where it touches on Romanticism, is the use of fantasy in landscape, either interior or exterior. Fantasy or the proverbial dream-state is the prerequisite for the exploration of this terrain. Undoubtedly landscape allows the greatest latitude to the artist whose means are fantasy. Plausibility is less often a condition than when we view still life or the human figure. Identification with the latter is usually so strong that we are alerted to any distortion; objects with symbolic associations are both more and less open to a fantastic treatment.

    The first

  • Raymond and Laura Wielgus Collection

    An exhibition of the Raymond and Laura Wielgus Collection of primitive art has opened the season at the Chicago Arts Club. The show is handsomely installed and there is an excellent catalog with extensive documentation of each piece. Nowhere in the catalog introduction, written by Allan Wardwell, is the term “primitive art” used. Traditionally it has been applied to art from the indigenous cultures of Africa, Oceania and Indian America, all of which evolved independently of the Euro-American and Oriental cultures, and all of which are included in the collection. Historically, “primitive,” when

  • The Hodes Collection

    BARNET HODES, A LAWYER by profession, former counsel of the City of Chicago and active in various civic affairs acquired some of his first paintings in the ’40s, a Villon and a Braque among others. Association in Paris with one of his clients, William Copley, brought him his first close contact with Surrealism. The works in Copley’s collection were a revelation in themselves but of equal or even greater importance was the personal contact with the artists of the movement. Hodes’ professional background, coupled with an inherent tendency for investigation, led to an exploration of the configuration

  • Chicago

    One of the artists who typifies a predilection here for the figurative rather than the abstract or the geometric is Dominick Di Meo. Since the early ’50s his work has been infused with both Expressionist and Surrealist tendencies. In the early work, the former, cast in a very personal manner, was dominant but Surrealist elements of fantasy and mystery were allowed full play in a series of relief paintings which came at the end of the ’50s. and the early ’60s. As in the reliefs of Halkin and the scumbling of Golub’s painting, the material itself was given an important role in the final result.

  • Chicago

    For a large metropolitan area the size of Chicago there are too few opportunities for the local artists to exhibit their work and, as a consequence, little opportunity for the growth of a sizable audience. This situation, deplored on all sides and discussed with almost cyclic regularity, is the motivating factor behind a number of large exhibitions that have been mounted since the early ’50s. Since that time, when the group known as “Momentum,” composed of students and protesting artists, put on ambitious shows that were amazing in their scope and which were selected by a roster of distinguished

  • Twelve Chicago Artists

    THE EXHIBITION “TWELVE CHICAGO PAINTERS” ORGANIZED BY the Walker Art Center in Minneapolis shows four paintings by each of the artists. It is a good show, handsomely installed, simple and unpretentious. In age, the artists range from 23 to 35 and none of the paintings are less recent than 1963; most of them were painted in 1965. Jan van der Marck, curator, and in charge of the exhibition, makes no unwarranted claims for a cross-section view nor does the show purport to be a sampling in either breadth or depth. It is admittedly a selection. These artists are very much a part of the current Chicago