Los Angeles

The 18th Annual Art Exhibit

Newport Beach

The Newport Ex­hibit this year was muddled, but from the popular point of view, this confusion was aggravating and mysterious. Visitors stood like vacant Giacomettis in the large gymnasium while noted experts defended the jury’s choices in Frederick Hammersley and Keith Crown. The show consisted of sixty-nine paintings select­ed from a field of over five hundred entries.

From the sixty-nine chosen, there was a fair sampling of some sound painting approaches. American Series #1, a fine painting that showed the artist’s ability to dissect and reassemble sym­bols in a favorable way, was Tenold Peterson’s contribution. From Willie Suzuki came an alarming painting that pushed color into new areas for him. The Hat left the quiet, intimate views of his past work for a more outspoken approach to relating space and form. Vic Smith’s work, The Traveler, attempted to develop spaces for the observer’s par­ticipation.

The purchase award winner, Opposite Likes by Frederick Hammersley, had a floating density about it. The painting was a shifting wall where opti­cal space assumed a theory of position. Flat circles oscillated minutely, alter­nating attention from point to point. This example of Hammersley’s work became like a puzzle whose solution was purposely not given.

An honest artist looking for answers could be found in Keith Crown, a fine watercolorist. Death of Summer was transparent, watercolor poetry, lost in movement.

Finally, among other notable paint­ings were Britt-Sommar by Miss Noel Quinn; No.1, John Martin; Frisco Morning, Roger Kuntz; Moth Walk, Edward Reep, and Beach Oil by George Schoonover.

The 18th Annual Art Exhibit displayed a little of everything. Definitely the show was weakened, but regardless of this, the Newport had a quiet vitality for a community that is finding its way.

George R. James

#image 2#