San Francisco

11th Annual Exhibition, Watercolors and Graphics

Richmond Art Center

Ninety-one works selected by Dennis Beall and June Felter from the 581 submitted. Seventy-two of the 208 submitting artists are represented by representationalism, symbolism, non-objectivism, and various slicings of these idioms. The tone is definitely 1962. Nine non-graded awards were made, and the recipients give something of a summary of the show. The subtle, colored darkness of George Miyasaki’s lithograph, Flying Machine, glamorizes by monumentalizing this gadget which has almost become man’s destruction. It is symbolism at its best. Roland Petersen’s landscape (casein) would indicate that our “new figurative” style is becoming academic all too soon. Robert Collins’ drawing with the provocative title No One Knows My Condition employs the use of variable, probing line to slyly suggest without actually describing this delicate condition that no one knows about. Greatest variation in the handling of surface is between Tom Holland, still concerned with the cross as a shape, who encrusts every inch of the paper, and Fred Martin, using water color/collage and literary implications, who leaves most of his paper eloquently white. Some real clinkers have gotten past this jury, but on the whole the show is a stimulating one, not only as a summary of current trends of thought but as a survey of experimental use of media. It presents the facts and draws no conclusions.

E. M. Polley