San Francisco

Fred Dekker, Ed Handelman, and Barbara Spring

Hollis Galleries

There seems to be no significance, either in terms of contrast or of parallelism in the juxtaposition of work by these three artists. Mr. Dekker presents numerous ink drawings in which vaguely suggested clusters of featureless figures emerge from areas of ink wash alternated with uniformly dense meshes of thick lines and whorls busily spreading to the margins of the paper. There is nothing in these drawings to indicate that Mr. Dekker possesses the slightest sensitivity to his medium; all of the problems, as well as the vast range of resources of drawing are neglected. Mr. Handelman’s collage paintings tend to be trivially busy without being resourceful. Miss Spring has devoted considerable skill and patience to the reproduction, in various woods, of the visual appearance (in actual size) of a butcher’s counter and a bakery display case. The “realism” of these fabrications is quite startling and could have been heightened if Miss Spring had been able also to compound concealed posits of gas-releasing crystals simulating the appropriate odors. This, of course, is sculptural “Pop Art” and provokes the familiar, currently controversial questions posed by the idiom.

Palmer D. French