The list of artists once devoted to a single medium but currently experimenting with every conceivable material con­tinues to grow and grow. Sculptors blessed with one-man exhibitions today usually include in their display not only preliminary sketches for the three­-dimensional objects, but finished paint­ings and prints as well.

Robert Hansen who possesses a solid reputation as a painter has re­cently expanded into the field of litho­graphy through a Tamarind Workshop Fellowship awarded him this year, and also has cast a few bronze sculptures. Hansen moves into the monochromatic prints easily since he often paints with an extremely limited palette of black and white only occasionally relieved in severity with soft blues and earth colors. Though he may have extended his field of operations to include additional media, he continues to limit his paint­ings to the typical heavy lacquers on masonite panels he has always used in the past. The heavy massive forms con­structed for such as Mammoth Lake, Half-dome, and Mount Whitney have been recently replaced by lighter, more colorful interpretations of human physical attitudes. Man-Men #131 appears to describe some kind of primi­tive conflict in much the same manner kindergarten potato prints might. Han­sen here abandons his restricted pal­ette and allows exposure of astute col­orations which belie the content and become dancing patterns of joy. As is usually the case with painters who turn to three-dimensional art, the sculp­ture in the exhibition is for the most part trivial except for a rather remark­able crab-like crawling hand, its middle finger possessing an animal or human countenance. Both menacing and amus­ing, the work captures attention away from significant paintings nearby.

––Curt Opliger