“Rainbow Picket” completes the artist’s first one-man show begun last month and it is a considerable improvement on that initial offering. This relative success is not, however, without qualifications, as Miss Gerowitz has, in the process, changed her sculpture into a big, cheerful kind of painting. “Rainbow Picket” is a series of six volumnar trapezoids, about one foot cubed and ranging from three to fifteen feet in length, and leaning at 45 degree angles against a wall in (left-to-right) decreasing order of size. The segments, made of wood and laminated with canvas, are painted in solid colors,

Graham, in this first one-man show, exhibited a group of boxes mostly made during 1965. They are crafted of wood and transparent plastic and contain Surrealist-inspired views of contemporary figure groups, modeled of unfired clay, realistically painted, performing secret, erotic, rituals in conventionalized landscapes and beachscapes. A nude man holds a girl in a bathing suit in an acrobatic pose in a pool of water, or a group of bathers indulge their sexual fantasy knee-deep in the sea. Landscapes themselves become conventionalized and almost sexy. On occasion, the figures merge with the

In his first Los Angeles one-man show, Williams shows a group of paintings made between 1963 and 1966. The earlier works use a basic parallelogram-shaped canvas with interior cutouts or sides cut into jagged streamlined directions, and an image structure composed of repeated sets of a single shape (designed to relate to the canvas shape) and to conform to a somewhat mathematical order. These are all of a single color on a contrasting ground.

The more recent pictures assume shapes that are more arbitrary, based upon superimpositions of different sized and angled rectangles. These complex fields

The major work is a mural size, four-part painting (arranged like an inverted “T”) entitled “The Kennedy Civic.” The overwhelming impression is of a Futurist textural field confounding the hidden subject matter. The descriptive elements, figures arrayed frieze-like before a landscape with clouds above, are first divided into slipped and arbitrary horizontal registers, the paint then stroked in a blurring fashion. The predominant color, yellow-orange, is particularly sharp and nasty, set off as it is by smears and touches of black, white, blue and red. Forms are folded back and lost, padded and

David Gray’s recent work at the Ferus Gallery juxtaposes truncated and oblique chrome cylinders with white lacquered cubes. These steel pieces are well crafted, achieving the elegance of tastefully designed jewelry or furniture, but they demonstrate a physical continuity devoid of conceptual unity. “L.A. #6” forms a two dimensional cylindrical square resting upon a white cube. This juxtaposition should create some unity between two separate entities but it does not. The negative space produced by the cylindrical configuration is devoid of a possible relation to the cube. The fact that each

In this exhibition of recent work D’Arcangelo has simplified, fragmented and flattened his silhouetted imagery of highway markings and the highway landscape and moved more directly into a formalist focus. Where, in certain earlier paintings, the highway would recede illusionistically toward the vanishing point, in these pictures it holds and affects the picture plane. The broken white center dividers become, now, parallelograms and the grassy embankments flat walls of green canvas separating the black road-base from the blue sky-top.

The play, here, is between flatness and illusory depth with

The collection of recent oils by this prolific artist consists mainly of landscapes interspersed with a few still-lifes and figures. His landscapes are more poetic and free in execution than the figures, where he seems to tighten up and lose some of the mobility of style that gives his particular kind of romantic expressionism its special flavor. If some of the work appears repetitious and not quite compelling enough, it is perhaps because the habit of painting has superseded while the heart is searching for a renewal and revitalization of its essential poetic and creative force. All the paintings

To anyone familiar with the elegant, polemic visual protests of an earlier Kerciu, this collection of a score of paintings and a few odd objects represents a puzzling and strangely depressing transformation. There is no readily perceptible genealogy and, what’s more, the new paintings seem to have been produced with considerably less passion and no more craft than their predecessors. Kerciu has limited himself to advantage in scale and motif––the medium-sized squares and portable horizontal rectangles set well in a small, architecturally deprived gallery and his diamonds, circles, and metamorphosized

These strikingly colorful floral and animal Primitives are painted with a joi de vivre that is as contagious as it is disarming. Miss Rolick’s natural gift for design as well as her skill as a colorist is dramatically displayed in her “Parade Of The Humble Animals in Bogota, Colombia,” one of the best paintings. All of her canvases are extremely busy, but in spite of their whimsical elaborations of design, they show a sense of order and are well contained. The three exuberant florals entitled “Creation” offer a tossed salad of every kind of garden variety imaginable, and these fairly burst upon

A generous sampling of recent works and studies by William Gropper strongly underscores what a minor figure he was/is. He is most familiar for his haranguing politicians of the turbulent ’30s, but whatever bemused vitriol his graphic spirit may once have contained has drained away, and his style rests somewhere between UPA cartoon designing and a blatant dependence upon Ben Shahn. This he disposes nicely among a random assortment of figurative subjects.

One may, however, enjoy the solid delights of several Moses Soyer drawings, and observe the textural sidestepping and graphic mannerisms a sound

“The Vienna School of Fantastic Realism” as it is represented by its five founders in their first American exhibition, is an anachronism. Ernst Fuchs, spokesman for the group, claims the intention has been “to resurrect some long-forgotten artistic traditions by combining many qualities and disciplines, dispersed in most modern art, into a truly ‘fantastic realism’.” He claims kinship with such painters as Altdorfer and Grunewald, the Parisian Surrealists and the French Symbolist painters of the late 19th century. One sees, also, in the work of Erich Brauer, an affinity to Hieronymus Bosch; in

The show is not quite what it says it is: in addition to the above media there are prints and a strong minority are anything but nonobjective (abstract-ed paintings with indications of grassy knolls, insect life, lunar landscapes and the Pacific Ocean, and with titles like “Hillside” and “Chrysalis”). Then there is the matter of to what end the Association aims its shows; the quaint, neighborhood quality of three-dozen feckless imitations of the merchandise of the commercial houses is lessened when one understands that the intent of the exhibition is to give career impetus to younger talents

Noteworthy among a large group of Argentina artists is the works of Juan Manuel Sanchez and Juana Elena Diz, which stand out in this show not because of their uniqueness but because of their strength. Reminiscent of the Mexican mural painters, Sanchez and Diz use the large bold shapes native to Mexican and Spanish folk art.

Like almost all of the artists in the show, Sanchez and Diz are figurative painters, with social overtones. Sanchez portrays workers with industrial, stylized buildings in the background, and Diz portrays the common daily rituals of living. Sanchez employs strong, bold, black

This collection of “Flowers And Landscapes Of France” features ten recent oils by Philippart and also includes several paintings by Lurcat, Waroquier, Chabaud, and Dufy.

Bertrand Philippart’s flowers for madam are painted with a delicacy and grace that seem to belong to a bygone era. Each bouquet is small and tenderly features a rose or a sprig of violets. His landscapes are also small and delicately painted, and these too have a quiet remoteness that seems to belong to the past. At first glance his pictures may seem extravagantly sentimental and conservative, and yet at a time when there is Pop

This show includes the work of several local artists, paintings and graphics from Mexico, and a group of oils from Russia.

Of the Russians, none of whom have anything very original to offer, the large and colorful “Rostov Yaroslayski,” a cityscape by Vikulov, shows somewhat more vitality, as does the work of young Pavel Pankov, whose “Model In The Studio” is painted with a sketchy and flashy kind of boldness that exhibits him as an able illustrator. The Russians appear most influenced by the French Impressionists, but, for the most part, they show a too sentimental preoccupation with superficial

Shown at Galerie Juarez is a group of painters supposedly from the “School of Paris,” a title which, in many galleries, has, rather amusingly, come to refer to any painting with a Frenchy signature. Charon is the most interesting of the group, painting stylized, coloristic landscapes of the French provinces. Bisiaux is also worth mentioning, as he paints with an understanding of Utrillo’s landscapes, portraying moody weather and provincial landscapes.

—Susan R. Snyder