PRINT July 1963



The Fine Arts Patrons of Newport Har­bor would like to thank you for the very fine article by Vic Smith in your May issue on Morris Graves and the Exhibi­tion which we presented in March. We appreciate the kind words of support and encouragement which you have given us from time to time.

We would like to call to your attention the omission of any cover credit in your April issue. The Morris Graves painting which you used, is Bird Singing in the Moonlight, from the collection of Nancy Wilson Ross and was shown in the Mor­ris Graves Retrospective at the Pavilion Gallery. The color plate for the cover was made available through the cour­tesy of Horizon Magazine.

—Dorothe B. Curtis
Eleanor S. Green
Newport Beach, Calif.

I particularly liked the article by Sheldon Reich in the May issue. I think what he says about current art is timely and much to the point. Of course, I am an old conservative myself, but I hon­estly don’t see why all so called “representational” paintings and painters should be reduced to exhibiting in res­taurants and such places as the lobby of a Fox Arlington theatre. Granted a few come out of hiding occasionally and manage to make the second-rate shows, such as Society of Western Artists, Orange Show, etc., but are quite mark­edly absent in any museum or first rate exhibition.

—Douglass Parshall
Santa Barbara, California

I have received from Los Angeles Vol. 1, No. 10 of Artforum, in which I ob­serve that you mention my work. I thank you sincerely for this and wish you all success in future endeavors.

—Wanda Paklikowska-Winicka
Warsaw, Poland

Often it’s an occasion like the recent Art Promenade in L.A. that helps to break the barrier between the audience and the artist. It seems to me the Promenade stimulated to a high pitch the already lively interest in gallery activity. The air of carnival festivity was healthy and the spirit of fun dis­pelled some of the fog of intellectual­ism and self-importance that is so often present in an art gallery. It’s won­derful how perceptive people can be when they’re just themselves. It’s excit­ing to see the way a painting or a piece of sculpture can illuminate a person’s life––can be the key to the freeing of the human spirit.

From a practical point of view the Promenade was of real value too. It brought many new people to the area and it netted our gallery as much as many exhibitions that have required considerable time and expense on our part.

Of course we believe the Art Promen­ade should be an annual event and we hope it will be. The Junior Art Council of the Los Angeles County Museum de­serves our thanks.

—Joan Ankrum
Ankrum Gallery
Los Angeles

Kate T. Steinitz’s visit with Rodia was one of the most enjoyable articles we have read in Artforum. In spite of the rambling, disjointed monologue which she recorded, the tawdry details of the Martinez setting, the sun broiling down on the three figures standing near the red stop sign, the impression of her immense respect for Rodia and his accomplishment comes through with great power.

—Mr. & Mrs. Dominic Martos
San Francisco

The article by Kate T. Steinitz on her visit with Sam Rodia (Vol. 1, No. 11) was completely charming . . .

—Ceil Fassler
New York City

It was with great shock that I read of the trading away by the San Francisco Museum of Rothko’s beautiful early painting Slow Swirl at the Edge of the Sea. I had not even known of the event until I read Mr. Coplan’s disgusted comments on it (Vol. I, No. 12).

The article in which it appeared, “West Coast Art: Three Images” deserves everyone’s applause. For the first time that I can remember, a serious attempt to employ a serious set of critical standards to West Coast art activity has been made, and the entire area can only be aided by it, in spite of the high amount of negative judgment. One need only compare the quality of this article to the empty drivel that passes for serious discussion of art in the local press to realize how much articles like this are needed. My congratulations, in spite of many disagreements, to both Mr. Leider and Mr. Coplans for a beautiful piece of work.

—Patricia McGraw
Berkeley, California

I wonder how many people in the Western states and elsewhere realize that until Artforum came on the scene events like the important retrospectives of John Marin, Andrew Wyeth and Edward Hopper at the University of Arizona (Vol. I, No. 11) went almost completely un-noticed, un-documented and un-applauded? Your Letters column is so often full of petty quibbles that I wonder if anyone is aware of the fantastic difference your publication has made.

—Sylvia Levine
Los Angeles