In this exhibit consisting of gallery regulars for the most part, one can discern the nature of the stable being formed at Ankrum. It is a varied group and not one with an easy trademark. Ranging from the draughtsmanly dignity of Broderson to the painterly brio of Burkhardt; from the bluntly humble Schwaderers to the embullient and sensual Frames. Corda wafts delicate landscape forms on paper but Secunda packs paint into paint to create extraordinarily dense canvases. Lazarevich is represented by two cast concrete pieces, Black Musician and Fallen Crusader. Both manage to be sprightly and monumental at the same time. An added fillip is an early Tobey (1927), a glass-slick figure study in the kind of analytical realism that exercized lessons learned from the cubists.
––Doug McClellan
