Los Angeles

Gallery Group

David Stuart Gallery

Several pieces merit mention from this summer review of the gallery’s artists, who, for the most part, verge on taste­fulness of the School of Paris variety.

Faralla’s new Gold Post of small curls and fragmented lengths builds to a Nevelsonian totem which is finished in a fine and unobtrusive working of soft black into an ochre surface, yield­ing a weighty, dense flow with imper­ceptible transitions. Four of Anthony Berlant’s latest constructed, fabric­-covered panels show him working to vary his previous splayed cruciform figures. Miss Beauchamp divides into a split personality, Hello, Lola! re­ceives a silhouetted visitor; and Les 6 multiplies a roster of bodices. Kenneth Noland’s Cycle target provides a rare opportunity to examine a narrow radi­ance of circles placed upon so large a field that the edges of the bare canvas miraculously disappear into the sur­rounding wall surface, and we are left facing the hollow, burned out core of a floating image.

Hassel Smith’s works ocupy a greater portion of the area. Untitled, #15, Love’s Old Sweet Song: and the pano­rama North of Montana are tough tracks of gestural tensions ricocheting around in fluid, deep-open flux. A crazy cartoon line tumbles down the center describing a section of jolly pseudo­anatomy, or pole-like lines set limits on an architectural space. Brush and knife interchangeably whip up textural acti­vity, until they appear to have happened at one intense period, in a tumble of continuous over and under.

––Fidel A. Danieli