San Francisco

“Benefit Exhibition, C.O.R.E., N.A.A.C.P., S.N.C.C.”

Berkeley Gallery

An exhibition arranged specifically to raise funds for the above organizations through the sale of art works, this show brings together an encouragingly large percentage of excellent work by the best cross-section of Northern California’s art community that could be hoped for. Contrary to the usual run of benefit exhibitions, to which artists contribute half-heartedly at best, this one was organized by an artist, Fred Sauls, and elicited a quick and enthusiastic response from artists throughout the area—a fact well indicated by the high quality of the works which the artists chose to contribute.

A particularly impressive group of small sculptures was available for preview. A characteristically well-finished bronze by Tio Giambruni sums up his very plastic use of metal cast from wax, while Sidney Gordin’s absolutely flat-hammered metal shapes reflect a sculptural line of thought exactly opposite from Giambruni’s. Nancy McCauley’s free-standing piece contains a Gordinlike flatness but in polychromed plaster rather than metal. Marr Ground’s piece uses metal in a constructivist manner, and it’s purely abstract associations contrast with Stephen de Staebler’s cast bronze boxing glove, with it’s built-in deformity. Doyle Foreman’s sensitive and imaginative handling of wax is evident in the intimate bronze figure shown, and Fred Sauls’ cadmium-plated steel construction has a great deal of massive strength that is usually not attempted by this artist.

Graphic work was contributed by Robert Loberg (a large black and white drawing suggesting his recent paintings), Harold Paris (whose large litho—the only issue pulled—is one of the show’s highlights), Boyd Allen (an excellent drawing suggestive of a mysterious interior), Glen Wessels (an exquisite monoprint with the fragile quality of a colored etching), Robert Hartman (a sensitively rendered collage that pays hommage to the Wright Brothers).

A number of oils were also available for preview. Hugh Curtis contributed a bright, flatly-painted male portrait. Nell Sinton shows a small oil with all the vivacity of a spring garden in bloom. David Simpson’s small tondo makes use of hot and cool stripes of even width to complete an even field of color. Tom Akawie’s thinly painted yellow and red-orange areas contrast with smaller, harder shapes in order to create a thin, transparent space.

Unavailable for preview were works by other contributors including Peter Voulkos, Manuel Neri, Abraham Schlemowitz, James Melchert, Jerome Johnson, David Lynn, Robert McChesney, Joan Brown, Hassel Smith, Earl Loran, Morris Yarowsky, Karl Kasten, Joan Matthews, Matt Glavin, Howard Margolis, James Monte, Sam Tchakalian and Charles Mattox.

James Monte