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

Howard, a recent arrival from a Utah college, offers three firm, serious paintings that have a decorative quality which competes with the paintings’ underlying solemnity. Inez Starer’s work is extremely uneven. She might do well to examine her own production more closely and weed out what is obviously inferior. Wakeham’s landscapes are well painted and unassuming. He has been influenced by Edward Hopper yet the honesty of his work precludes any slavish devotion to that master.

—James Monte

A lightweight collection of paintings, including works by Gropper, deRuth and Raymond Howell, make up this exhibit.

—James Monte

An unusually gentle, pearl grey landscape by Marquet rests comfortably on the same wall with a recent landscape by Milton Avery. These two dominate an otherwise tepid group of pictures.

—James Monte

These chubby young ladies who recline, kneel and just plain stand are cloyingly sentimental. The pictures seem to slide off the walls with their insistent whispers, “Take me home; take me home.”

—James Monte

Almost black canvases with simple, white but grotesque ovoid heads and schematically painted hands––zombie art.

—John Coplans

This artist, in his first one man exhibition, shows a small group of oils, a construction, and a number of mixed-media drawings. The drawings, on deliberately crumpled paper, are delicately stained and worked, and this young artist ought to recognize how complete they are. By showing them alongside his lugubrious oils and trivial construction he devalues his own art. In the upper gallery Edgar Millhauser exhibits a series of photographs of a high school orchestra. They are an excellent example of photo journalism, lovingly composed.

—John Coplans

Large vigorous portraits, loosely painted in high-key color that verge on caricatures. Assembled junk and carved wood sculptures of the human head.

—John Coplans

Sacha Lioutikoff’s paintings of heads and flowers are painted in a bold, well-organized and unsentimental way. Kathleen Cross, a young California artist, shows unexciting and unadventurous abstracts of swirling forms laboriously painted in muted color.

—John Coplans

Wilson at one time studied ornithology in a serious way and continues his ornithological interest in his art. His work consists of a sparse and well placed, simplified bird or animal imagery, painted in a very limited, but pleasing low-key palette of a distinctly oriental flavor. His work, elegant, refined and cultured, is distinctly personal, but this is through suave and careful handling of the subject matter rather than any poetic insight.

—John Coplans

This exhibition consists of two very unimpressive paintings, both hard edged, but poorly executed and quite superficial, plus a number of figurative drawings made on engineers multi-colored paper, which are figurative illustrations and totally lacking in plastic wit or content.

—John Coplans

First one man exhibition of this young painter who shows low-keyed, loosely painted, very academic abstract expressionist work, sometimes figurative, visceral or completely abstract.

—John Coplans

With some artists it is important, even vital, to talk of their influences. Mrs. Berk is just one of these artists. Her works reflect the now academic approach to figure and landscape painting found throughout the West Coast. This approach to painting has become a method in the hands of virtually every art department in every art school, university, and college in the state of California. As a manner of teaching art it is no better nor worse than any other. Working within the confines of “The Method,” a student must loosen up his painting technique and learn to make quick brush strokes and swift

The best of Peterdi’s many esthetic approaches seems to be his translation of big-scale natural phenomena into combinations of the etching and engraving techniques. A superb example is the print, Angry Sky, with strong diagonals hatched down from the upper left, broken intermittently with horizontal billowy lines that suggest clouds and thrashing rain. The print, Winter II, speaks a similar formal language, yet it depicts a localized and specific place treated with great delicacy and restraint. This exhibit amounts to a small retrospective (1947–1961), and it was indeed pleasurable to see a

In this show, stemming in part from a recent trip to Mexico, Siegriest works with massive primitive shapes, ancient textures and brilliant flashes of color, using mixed media which sometimes incorporates unlikely materials. While he does hold to abstract pattern, Lundy Siegriest is not an academician, thinking only in terms of form without a substance of ideas. Cognizant of, but not dominated by, current idioms and techniques, he chooses carefully from 20th-century linguistics to make his statement about the continuity of images and their associations from ancient to modern times, treating them

From the size of this exhibition, the enormous cost of transporting and setting up the large number of works shown, as well as the lavish sixty-four page catalog, with its omniscient introduction by Wayne Andersen of the Walker Art Center, one would naturally expect to be viewing the work of a major and important contributor to the twentieth-century sculptural idiom, at least equivalent in inventiveness and performance to such artists as David Smith, Henry Moore and Giacometti. Add to this Ferber’s reputation for high intelligence and upright humanism, his friendship with some of the best artistic

For no more than two or three seconds, the camera rests on two small, nuzzling fawns. It cuts without warning to a bizarre shot of a band of African natives swarming over the gigantic carcass of a dead elephant: one begins to turn the huge ear as if it were the leaf of a giant book, but the camera cuts to another mob, this time swarming over the bodies of several human beings in the process of having their dead bodies strung up by the heels. The camera shifts again to a shot of the trembling, uncontrolled sobbing of an African child. Two hands reach for the child’s shoulders to comfort her. The

Hanna Weynerowski, called Kali, has a large show which idiomatically, reaches far back into history. A one-time realist turned abstractionist, Kali has recently plumbed deep into the past for source material, drawing heavily upon the art-craft of 15th century German and Austrian masters and by extension, the Flemish and Italian Primitives. Scratch Kali and you will find Isenmann and Schongauer. Scrape her calicoed figures and you will disturb Duccio. For she revives the hard-edged decorative pattern, hobnailed gold-leaf backgrounds and diapered spaces, and to them adds beaded faces, corded

An obviously sincere and hardworking artist who paints a wide variety of subjects, but totally limited by any real insight into art.

—John Coplans

Irma Engel’s landscapes, churchscapes and portraits of personalities fill one of the larger galleries. She employs nature’s monumental mountains and man’s monumental churches as subject and from them wrings, with Kokoschkalike touch, every drop of expression. Her color range is magnificent.

—E. M. Polley

Subtle color manipulation and sensuous brush (or knife) stroke seems to concern John Haley more than special statement. His exhibition fills one large and one small gallery and, while not allowing for study in depth, does trace changes in his approach. He has gradually changed from small brushmarks laid on one by one, creating vibrating color effects but clinging dangerously close to Mondrian’s plus-and-minus compositions, and to Guston’s early non-objectives, to his current large canvases making firm and judicious use of palette knife. These latter show an original and personal kind of controlled

Selections from the work of eight photographers have been assembled by Hal Roth for the current San Francisco Museum show under the portmanteau misnomer of “The World Around Us.” A title leading us to expect a thorough visual investigation of man’s environment, and an expectation completely disappointed by the haphazard selection. The photos shown are by Ernest Braun, Paul Hassel, Imogene Cunningham, Pirkle Jones, Donald S. Ross, Brett Weston, and T. W. Tenney, to which Roth adds some snap shots of landscapes and campers of his own. Braun has contributed a set of large grey designs derived from

Ralph Ducasse further pursues his personal symbolism with thin gauzy colors from the red side of the wheel. His latest paintings here, follow a developing series of Austerites 1, 2, 3, and 4 (1961). Also included, is a gigantic shape with certain primitive Polynesian qualities despite its rainbow sherbet colors. It is titled Spring (1962). Ducasse seems more at home in these “transparencies” developed in glazes over white canvas than with the scattered chips and thick bands of color used in his series on Nao, two of which are included in this show. Anne van Kleeck encompasses both Giacometti

Borrowing some of the magic hocus-pocus of Indian medicine men, De Forest selects articles from the kitchen drawer, or the play-pen, paints them with bright colors or dapples and spots them to resemble dyed leather or pinto hide, and assembles them in a painting or on top of a frame to create imaginative works which are both stimulating and amusing. Spirited, colorful, often thought-provoking despite their whimsy, they are not mere child’s play, De Forest is a craftsman. He sometimes dispenses with relief construction and extraneous frame trappings to work solely with oil and canvas, presenting

At his best, this artist is a mysterious image-maker who defeats any precise vocabulary of established ideas. Nothing in his work is as it appears to be, the images continuously slip, shift and change, but not as a result of any optical device, but rather of psychological ones. His simply carved, square and twin-turreted castle directly derives from ambiguous impressions of home, Kafka, tomb, womb, bomb shelter, cellar, hall, jail, chimney, penis, vagina, flags, well, moat, wooden horse, armory, army engineers semaphore tower, torture chamber, Europe, and Castle Line. These fleeting impressions

Mr. Ford has a ten-year retrospective show filling a quite large gallery. He has wisely refrained from crowding his exhibition, allowing ample room to view the works. It reveals his struggle to break away from color, to re-state Cézanne’s basic formula to his own version: the line, the circle, the dot; and to develop a paint medium which allows for immediacy. Emphasis has been placed on his most recent paintings, total abstractions using only black and white and texture. This has cost him some of his following, since only to the very sophisticated and the extremely naive does textured black and

An experiment in group exhibition which will roil the blood of die-hard traditionalists. It refutes the conventional wall hanging, “which tends to bind the work too rigidly to the architecture of the building and interferes with the spectator’s perception.” The aim is to stimulate greater audience participation. This even at the expense of comfort (which is only a sedative anyway). Coplans, Shapiro and Hedrick all have huge canvases which are set directly on the floor, like screens, to be viewed from the painter’s position. They are spaced to allow for a walk-around, to see the work from all

Kasten is showing a series of rich, juicy oil paintings with an image that is usually suspended in the center of the canvas. In some of the paintings the motif is tipped on its side so that it leans to either the right or left edge of the support. A common linear device is used to tie the image down: sometimes it’s an inch-wide gestural stroke (Vulcan’s Domain), or a very thin ribbon of paint popping through a later application of pigment.

Kasten’s use of worked up muddied color (Zumi Legend), serves him well in two ways: it makes the finished paintings look aggressive and tough, which they are

Lent by the Government of the United Arab Republic, thirty-four carefully selected items from the fabulous tomb of the boy king of ancient Egypt who died a consumptive at the age of 19, are shown. (Reign: XVIII Dynasty, ca. 1358–1350 B.C.) Unfortunately, these pieces, interesting as they are, give us an inadequate picture of the special flavor of Egyptian art of the time, although they do reflect the fabulous wealth of the pharaohs and the immaculate craftsmanship of the artists of antiquity. One wishes that enough color photos of some of the graphic arts had supplemented them to better inform