TABLE OF CONTENTS

PRINT April 1966

LETTERS

Letters

Sirs:
In reference to me edited and revised interview, “Oldenburg, Lichtenstein, Warhol: A Discussion,” published in the February Artforum, I would like to put on record that Gene R. Swenson, was one of the original participants in that discussion when it was broadcast. Due to the expediencies of editing his portion was dropped but my appreciation of his participation still stands.

Bruce Glasser
New York City

Sirs:
On page 25 of the January 1966 issue of Artforum, Wurster Hall at the University of California at Berkeley is erroneously credited to this office alone. The architects were Donald Olsen, Vernon DeMars and myself working jointly under the name of DeMars, Esherick and Olsen.

—Joseph Esherick
San Francisco, California

Sirs:
Upon the suggestion of my art instructor, I became a subscriber to your magazine, Artforum, in his opinion of the most valuable publications in both art analysis and authoritatively representative of every school of fine art.

I found this to be a fairly competent evaluation; however, the last few issues have been, in my opinion, contemporary trash and moral depravity. I refer specifically to your January, 1966 issue.

Page 39, Wallace Berman’s verifax collages, example “Scope,” with his “idea of a series associated but only poetically related images.”

Page 55, Harold Stevenson’s “Mysteries Unfold Slowly,” with his “trick-or-treat reconstitutions of the genito-urinary tract,” and exhibition which you seem to feel for him is an “improvement.”

Page 57, Frank Gallo’s “Saddle Figure,” in your opinion, “masterpiece of winking anecdotalism.” Your evaluation would see to be that “a real eye for the expressive moment, is Gallo’s gift.” Though you do seem to relate that you feel this work fairly inferior, it still remains that it was in your publication that my eleven-year old son viewed it.

Since it is not my policy to supply perversive material for the influence of my children, and since I, in no way wish to contribute to the abasement of art standards, even at the risk of appearing extremely narrow, idealistic or even a conformist to conservatism, I must ask that you cancel my subscription immediately, wanting nothing more to do with the neo-Dadaism type, repulsive monstrosities concocted on the above mentioned pages.

E.M. Madigan
Alhambra, California