This year-old Hollywood gallery provides a sort of boudoir setting for a passionate love scene between septuagenarian Paul Lauritz and the Great American West. In spite of the lengthy engagement, Mr. Lauritz continues to express his adora­tion with a vocabulary of adroit brush work which just manages to avoid for­mula. These carefully executed water­colors of coastal, mountain and desert scenes come alive in spite of an overly economical palette and naked whites too boldly considered in conjunction with the softly applied washes of grey­-greens, -blues, and -browns. Other than an occasional

Howard Warshaw’s mural painting of Ulysses is completed and on view at Ortega Com­mons on the University of California at Santa Barbara campus. It is 76 feet across and 8 feet high. (However, because of a projection under the wall, 6 inches are not visible from below.) The mural is painted in Liquitex direct­ly on the plaster wall, which was pre­pared with six coats of gesso. The mural was begun under authorization of Clark Kerr, president of the University of California and Acting Chancellor of UCSB, Elmer Noble.

The theme is that of Homer’s Odyssey and the epic story of Ulysses. Warshaw developed

An exhibition covering paintings from the past three years; through layers of overpainting and scratching upon pre­vious studies, Frank is attempting a blend of elements from Diebenkorn, De Kooning and Picasso. Since he is so pro­ductive, a few of the works attain a healthy plastic animation, but this seems to accord with the law of aver­ages.

—Rosalind G. Wholden

To spare the foolish notions, there ought to be a law requiring dates for the quo­tations embellishing exhibition an­nouncements. Seeing as others see re­quires the same site, and the distance between 1932 and 1963 affects one’s vi­sion. In a literate world where Picasso and Matisse as well as Holbein and Rembrandt are known to so many peo­ple and are available in so many repro­ductions, the following quote taken from the current Canedo announcement is fla­vorsome: “Canedo is a draughtsman in the old master tradition. I can’t think of no (sic) other living man who surpas­ses him in the purity

Strongly colored fantasies on themes re­lating to the state of nature in draw­ings, gouaches and oils. Nude figures gambol about in a child-like landscape, defying gravity and enjoying themselves immoderately. The modest, well de­signed gouaches have a considerable charm. Here too the drawing seems more confident and less primitive than in the more ambitious oil paintings. At their best, the gouaches have a strength of design that reminds one of Lanskoy and Boudin. Voodoo Surrender, Nude with Sock and Purple Nude are oils that attempt the same synthe­sis. Stine does not seem to be as com­fortable

Lenard Kester’s popular appeal is based on a kind of romantic imagery that makes use of the recognizable ob­ject but surrounds it with the unreali­ties of the dream world. Although his style draws heavily from both Social Realism and Surrealism, strictly speak­ing, it is neither of these. Its nostalgic mood has been compared to that defi­nition of poetry as “emotion recol­lected in tranquillity.” Here popular taste and the taste of the contemporary art world part company. Neither such a definition of poetry nor its translation into visual images is acceptable as apropos of today’s intellectual

Mau­rice Chabas (1862–1948) was a mystic whose paintings today seem possibly a bit naive if not condemned by the terms “pretty” or “sentimental.” They reflect the attitude of Puvis de Chavannes but avoid the ambiguous compromise of realism and formalism that character­ized Chavannes’ work. For the most part they are small images, warm in tonality and rhythmic in composition, dealing with the metaphysical qualities of light as symbolic of the source of Divine Love. Several relate to a series Chabas titled as Toward the Infinite. In such as The Nativity the figures are little more than sketchily

Each painting reiterates in form, color and concept such unflagging pre­tentiousness that the viewer being rail­roaded through Kovarsky’s Picasso-land, turns citron. Rancid turquoise spot lights an ameboid Adam and Eve; a fried egg is served upon a rubbery leaf; it is the dawn of temptation. Outlines sepa­rate from their colored centers with some rather absurd results. In Canaan­ite, the contour of the breast declares: “they went that-a-way” while its laven­der fill-in acts as a hub-cap. Kovarsky is equally unsuccessful when checker­ing his brush strokes or frosting the canvas by palette knife.

Brazen color and grizzled personages populate Hunter’s first West Coast exhibition. Presently on a Fulbright in Florence, the painter studied at Claremont. His avowed theme is The Human Comedy, but since Balzac could hardly be blamed for such cardboard characteri­zations, the painter’s allusions must be personal or literal esoterisms. Among these barbarously ugly paintings, French Gloves displays a flaccid fe­male segmented by her clothing into striped legs and arms, the nude yellow torso is garroted by a red dog collar, a pencil fillip provides the belly-button. Hunter’s straight from the tube

This exhibition includes two stunning can­vases by Christian Title: Village in Portugal and Outskirts—Lyon, also a village scene, with elegant sonorous surfaces. This painter's cerulean cy­presses and madder oaks are the green­est of green trees. There is a stunning group of primitives by a very young ar­tist, Diane Bryer, who is just beginning to show and whose fantastic little paint­ings will delight many. Among them is a flowered carousel horse, a small oil entitled The Neighbors incisively painted with Ulysses S. Grant furniture motifs. This untaught painter has a love­ly imagination and is

The long career of Cameron Booth seems to have taken a full cycle. At least the most recent of his works, Spring Thaw—1961 and Black Cow in Winter return to the image, echoing in many ways the years prior to World War II. There is, of course, a much greater simplification of form and a far stronger feeling for the essential unity of the canvas than there was in the Social Realism of earlier days. It is, in all honesty, a new image, yet markedly different from that which is so tenuously held by younger artists today. Booth’s familiarity with realism is re­tained. The resulting contrast between

The recent sculpture of this young artist has been seen a great deal in southern California in the last few years. He works in large abstract forms with a heavily grained wood which is often joined with considerable skill. There are pieces in which an element estab­lishes a primary direction and subsidi­ary elements give a sense of balanced purpose and integration to the whole. Most often, however, the work tends to have the look of continued and patient addition without selection or esthetic judgment. A number of pieces, worked within rectangular box shapes and utiliz­ing a cast stone composition

Miss Longval exhibits oils, pastels and draw­ings all in Rembrandt browns and rich golds. Her subject of choice is mother-­and-child in many variations, all sensi­tive and competent naturalistic paint­ings but lacking in excitement. Her best, a self-portrait, is strongly reminiscent of Kathe Kollwitz. Miss Longval remem­bers color but once, in her rich little still life of pears and pink apples. The social forces mentioned in the exhibi­tion brochure are manifest chiefly in the downcast glances of brown-skinned women of uncertain ethnic origin, and wistful, possibly hungry children. A study of

This exhibition marks the first showing of paintings by Detroit artist Richard Kozlow on the West Coast.

Kozlow, who calls himself a “roman­tic, contemporary painter,” uses a va­riety of methods and materials—casein, watercolor, ink, gouache, frottage, and collage—to render the muted tones of his abstract landscapes. What is truly remarkable about these paintings is the variety of, for want of a better phrase, atmosphere effects created solely through the skillful handling of paint. Kozlow has the ability to capture the changing moods of nature as his land­scapes are exposed to such intangibles

La Cienega gallery-goers who think the action stops at Melrose obviously don't know O. P. Reed. Those who do know him apply such phrases as “nice guy,” “great storyteller of the Los Angeles art world, past and present,” and to this should be added “thoroughly knowl­edgeable dealer in prints and drawings.”

His office (by no stretch of the imagi­nation could it be called a gallery) con­tains a cluttered desk, a few tables, pipe rack, boxes of prints, and a library of print reference books a museum would envy. There are also a few framed prints and drawings on the walls. Among these is an exceedingly

A mysterious process involving waxed paper stencils, textured metal plates, silk-screen frame and squeegee was used to produce this remarkable group of prints, which bear little resem­blance to prints made by any of the well-known processes. subtle overlap­pings of waxy, transparent colors provide backgrounds for line renderings, in the Oriental tradition of understatement, of two poppies, a dish of plums, and a chrysanthemum.

It might be tempting for critics to call Fukui’s work precious or shallow. But one must beware of confusing pre­ciousness with delicacy, shallowness with simplicity. Fukui’s

A curious aspect of the recent sculptures by 33 year old Gregory La­Chapelle is their immediate adjust­ment to all tastes. The small cameo-like reliefs portray mysterious red cliffs har­boring within their depths precisely modeled miniature cliff-dwellings of Pueblo Indians of the American South­west. At first they seem uncompromis­ingly traditional but before long a kin­ship to the emphatic realism of “pop” art conditions the former impression and arouses doubt as to the artist’s intent. His explanation: a simple con­cern with archaeology which he at­tempts to maintain on a light, amateur level

Many writers have solemnized a union in Carl Morris’ paintings, of Northwestern America’s topography and the no-time men­tal state of Oriental wisdom literature. Certainly he agglomerates chunky com­ponents into images readable as land­scape. Yet for all their massivity and wedging, an intrinsic emptiness is lodged at the core of the images. The hollowness palpable within the experi­ence of these works mocks the painter’s pastiche of monumentality. This is be­cause Morris directs his art toward the apparent rather than the essential and functional. He seems oblivious of the Chinese maxim: “Idea

A small but excellent collection of North West Coast art objects complements the showing of works by the young New Mexico sculptor, Harry Albert Hubbell. Several of the tribal pieces from British Columbia date back to 1880, and provide interesting comparison with more recent productions. A Chieftain’s Headdress from the Tlingit tribe, a Hawk Mask from from the Kwakiutl and a silver bracelet once worn by a Haida princess are only three of several fine pieces. It is the vitality of these primitive expres­sions that makes them meaningful even when the signification of their symbol­ism is not fully

Ex-muralist and illustrator Marie-Anne Poniatowska has produced this group of incredibly facile drawings. Large in size and intri­cate in rendering, the rock shapes and skeletons are further enhanced by their sensitive placement on the page. These are not hastily dashed off studies or sketches, but rather painstakingly done independent statements.

Working in black and white requires a particular kind of discipline from the artist, for the value range is bounded by absolutes. There is nothing whiter than total white (presumably the paper) nor blacker than total black. And these limits dictate the

Although there are a number of excellent pieces on view, the show in general falls short of its projected goal. Some of the 75 exhibitors seem to be neither artists nor craftsmen. Organized by Dextra Frankel, and presented in a handsome display by Jerry Rothman, the exhibit ranges be­tween the trivial and the titanic.

Easily the most exciting work in the show is by Robert Cremean. His figures in wood, plaster and metal are spooky, but fascinating. Combining superb craftsmanship with a powerful punch, his work is far in front of most of the junkier of contemporary sculpture. Since California

While eschewing all formal pic­torial considerations as mere “tasteful­ness,” this group of Mexican humanists makes the most of limited visual mani­festos. Their victims are vignetted, perhaps relating to an indigenous pre-Con­quest inheritance; specific grotesques are rendered in full sculptural plastic­ity of form, but exist in timeless, vague vacuums of non-environmental open wash. The drawings generally possess the quality of studies, due to this care lavished on volumetric creatures in generalized isolation. In placing com­positional concerns after the diffused message of humanism, in one

To both the elect and the electorate, who are jaded by the pro I iteration of novelties in 20th-century art, it is a cul­tural hardship to be a good follower and not a popularizer. Burkhardt’s por­tion is the bottom crust because his talent for assimilating and complement­ing Gorky’s achievements in loose-field symbolist painting, can be appreciated only by those who see a painting in front of them, not an object for classi­fication. Limbo expresses aggressive futility in girder, wrench, and key shapes clamped into shackling adjacency with­in slithery paint handling. The color transitions: greys

Forty-five prints were selected for this American Federation of Arts Exhibition by A. Hyatt Mayor, Curator of Prints at the Metropolitan Museum of Art, from the William P. Chapman, Jr. Collection of Whistler prints at Cor­nell University.

This American expatriate, who ad­vanced the expression “art for art’s sake,” is probably as well known for his prints as for his paintings. He worked in several print media-lithography, etching, and drypoint—exploiting the particular virtues of each, to depict the scenes of his chosen London.

Etching came first. Several examples from the 1859 series “Views of

To immediately associate the constructions of San Francisco sculptor Faralla with those of Louise Nevelson is perhaps inevitable since both work with scraps of wood of all sizes and shapes, arrang­ing them into intricate patterns and blanketing the whole with a single, solid, velvety color. But the parallel ends there, for where Nevelson concen­trates on more formalized effects, Fa­ralla often explodes with a profusion of rhythmic projections evoking a wealth of responses. One may envision fabulous many-faceted gems, or the agonizing whirls of sunspots, or the soaring ac­tivity of Rauen Cathedral

A “Pop” event whose purpose ostensibly was not publicity but “stunt.” Sissor initiators of the BLINK stencil, Alison Knowles, George Brecht and Robert Watts took an in­creasingly anonymous role in the man­ufacture and assembling of BLINK products. BLINK postage stamps, cigar­ettes, kerchiefs, bridal photo, undies, “Thrift Table,” pickings from Pasadena junk shops were Nelson additions to the New Yorkers’ shipment of pus-col­ored square canvases, bedspread, bath­ing suit, sweatshirt and harem pillow stenciled BLINK. Anonymity was avail­able to all by a BLINK stamping service. The whiff of

A Cali­fornia garden may contain at the mo­ment of our perception, forms of all the phases in the great cycle of living, just as the iris crowns a single stalk with budding and marcescent flowers. Annita Delano paints from a garden­er’s wisdom, her abundant and fluctu­ating images bear witness that immor­tality is a dynamic capacity for re­newal rather than an immobile identity. The exhibition as a whole and the in­dividual works themselves show the re-use, emergence and completion of living memories happy to return to seed again in the artist’s consciousness.

The present exhibition is Miss

Though basic tenets remain constant, this young artist seems to be in the process of change. Within the general attitude of a geometric orientation, Lukin works toward the realization of each canvas as a bas-relief entity. “Thingness” is accomplished by stretching unprimed canvas over a dimension-producing bar in taut folds and wrapping his color planes around the picture’s edges. The one or two shapes of the earlier banner-like formats recall broad, partial sec­tions of letter forms, verging symmetric­ally and clamping tightly toward this raised pole plane.

Having achieved an ultimate, novel,

A rich collection comprised of Grandma Moses, Streeter Blair, Hirschfield, Eilshemius, Lebduska and others. The art public needs no more raptures about the Great Grandma. The Eilshemius works, ranging in time from 1884 to 1916, are little gems of the kind which chil­dren, if they had the sense, would notice on merry-go-rounds, those little dreamlike landscapes filled with Me­lies-like castles, sirens and benign mon­sters. Two of the paintings display golden mermaids in grottos, a third, little pink turn-of-the-century Bardots frolicking in a stream. The Lebduskas count a pair of Uccello-like

The first exhibition of this West Coast showcase in a new national chain is devoted to a celebrated figure from the Chicago Monster School. A large number of recent paintings and ten constructions make a splendid intro­duction for a serious American Surreal­ist. The earlier paintings feature nude female figures in arrangements of a dream-like nature. The surfaces are worked with great variety from thin pigment, through heavy texture to vir­tual relief modeling. In one series the female figures run through an amuse­ment pier atmosphere in which they are continually fractured and fragmented by

Large tempera and casein collages enriched by weathered tearings or diaphanous rice paper. The beautiful marbleized, stained, veined and grained effects which are reminiscent of bookbinders’ paper are never fortuitous. This is an art measured and noble, a blend of ab­straction and traditional oriental with all its gravity and quietude. Mr. Hori­uchi does not paint directly on his canvas, upon which some forty varieties of rice paper are applied after being dipped, splattered, painted and textured beforehand. He uses largely earth colors bled sometimes with gold, a technique which harkens back