Los Angeles

“Gallery Artists”

Primus-Stuart Galleries

Even the paintings in this collage-filled show give the effect of being pasted layers. Joan Brown’s slabbed oil of two nudes is even more stratified in feeling than her torn-paper study of the same subject. Brown’s weakness seems to be her virtue since the banality of form in both works makes for a powerful grossness. Emerson Woelffer’s flaws seem to be less fertile. Represented by many examples in this show, Woelffer demonstrates facility and a penchant for “instant painting.” Apparently he only adds water to a mix made in New York. The potential boldness of automatic painting is inhibited by Woelffer’s figurative sense which is about as varied as a button maker’s. Reginald Neal’s dappled squares, Matt Glavin’s large sweeping primary colored motions, Ulfert Wilke’s attitude of piecing together fragments, F. Hodgkinson’s surfaces that look like archeological sites are all juxtaposed in an exhibition which is rough going for the viewer since one man’s premises often throw off the next’s. Robert Loberg’s wall-sized painting holds its own in the exhibition for much more than its dimensions. A gale of movement lifts great hunks of cardboard which have been ignited by the painter’s intense color. Loberg reminds one of an angry Franz Marc who has turned from peaceful animals to the city’s remnants for his subject matter. Probably the handsomest piece in the show is Jack Hooper’s large bas-relief-painting. In its buckling round forms the work resembles Baizerman’s hammered reliefs. Yet, through combining a satiny red metallic color with an organic composition of blistering shapes, Hooper’s plastic organization remains powerfully two-dimensional and painterly.

R. G. Wholden