• David Simpson

    David Stuart Gallery

    Simpson’s previous exhibition in this gallery involved paintings consisting of horizontal lines of colors that looked like samples of Indian Madras. In this show he has changed to curves rather than straight bands and has brightened his colors. If, in his previous work, the paintings looked like swatches of much larger bolts of fabrics, in these he has wrapped his image around the edge of the support and abruptly broken the curve in order to contain the picture. But, still, one finds a very conventional use of color and a fairly arbitrary system of band width that provoke no particular tensions,

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  • Tony DeLap

    Felix Landau Gallery

    These recent sculptures mark a radical step in Delap’s logical development from a shallow picture plane to a fully realized, three-dimensional definition of space. First came the now well known inverse reliefs, then a bar-like lengthening, a gradual move to the bent bar and now a bent strip clean of all surface enrichment but color. The bellows-like step sequence into depth to an enclosed pierced hole invited viewer participation by arousing an air of expectancy of mysterious but functional usage. While the iconic enclosure is gone, except as space is now trapped in a mirroring reversed length,

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  • Clark Murray

    Nicholas Wilder Gallery

    A pervading feeling that much recent reductive geometric work echoes the spirit of arbitrary adventure found in post-Cubist developments of thirty to fifty years ago is again reinforced. That Murray is au courant is as obvious as his less-than-tenuous links with Malevich’s Suprematism.

    Murray’s paintings, metal pane is braced at their edges, are shaped canvas substitutes. Each is sprayed a single color of automotive lacquer. Large, dominating the wall, the oblique quadrilaterals are angled diagonally like a remarkable accent or exclamation point. The premise that a painting is an object is fully

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  • Arakawa

    Dwan Gallery

    In this, his second exhibition at this gallery, Arakawa shows a series of large canvases designed to look like blueprints. But they are blueprints of an imagination steeped in the history of 20th-century art. They refer simply to schematic explications of recent formal and idealic concepts with special reference to Jasper Johns and Marcel Duchamp, but there appears to be little in the way of any real dialogue or critical stance; rather, one finds a simple, personalized restatement of the ideas of these other artists.

    Arakawa’s only formal contribution is in his use of color, which tends to add

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  • Robert Thomas

    Esther-Robles Gallery

    Robert Thomas’s recent work is a group of bronze and wood sculptures, the majority of which are painted. The wood pieces are most successful, full of a whimsical fantasy. These wood pieces are painted with an obvious desire for a rough crudeness, in keeping with the artist’s handling of carved woods. Most entertaining and playful about these pieces are their interchangeable, movable parts, mostly balanced and mounted on some form of tastefully integrated stand. The complexity of these parts becomes so profuse that one is left wishing the artist would simplify his configurations. As they are,

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  • Ruth Rossman

    Heritage Gallery

    Rossman’s recent development has been the discovery of subject matter which is motivated, posed, and poised in direct and convincing relationship to her style of figure distortion. The figures vary between the inertly volumetric seen in the park bench rester and veiled Mexican vigil keepers, and the frantically gesturing yet automaton-like go-go dancers and musicians. The locale shifts between the exotically foreign and the equally exotic youthful generation.

    Where architectonic props were formerly used, they now resemble scrims which open and close the space and are utilized for their design

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  • Critic's Choice

    Long Beach Museum of Art

    Just as critics evaluate works of art with an intellectually focused, calculating eye, so do they prefer works created by artists with a similar bent, or so it appears from the very cerebral paintings chosen by the three critics, Fidel Danieli, Kurt von Meier, and William Wilson, whose selections comprise this show. It is a good show. The paintings are almost without exception first-rate. But they are decidedly slanted in approach toward the formal rather than the free; toward the rational rather than the emotional. Most are flat, hard-edged, and if not strictly abstract-classicist, then present

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  • Thom O’Connor

    Silvan Simone Gallery

    The Surrealistic element in O’Connor’s work, combined as it is with the more impersonal aspects of abstract art, is its most individual and engaging quality. Through his vertical and horizontal structures there emerges the vividly human if somewhat apparitional faces and forms which appear as pictures within pictures, as if O’Connor would have us see mirrored in the impersonal absolute of pure abstraction the metaphysical reflection of human personality and relativity. The work, which is skillfully and meticulously executed appears at times somewhat precious, but for the most part, O’Connor’s

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  • Piero Aversa

    Adele Bednarz

    A collection of Florals and Cats in a style as close to Grandma’s needlepoint as you can get with a paintbrush. Among the happiest are “Cat On A Hot Tin Box,” “Daisy Cat,” “Pillow Play,” and “View From The Floor.” The flowers are merely flowers, but if these pussycats don’t provide you with the answer to what’s new, nothing will. Bring your own cat-nip.

    Estelle Kurzen

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  • Robert William Wendell

    Orlando Galleria

    Three years of concentration upon 19th-century memorabilia culminates in “The Innocents,” Civil War themes adapted from photographs and period illustrations. In oils, drawings, lithographs, and etchings, the labyrinthine problems of source-versus-transformation are explored with varying degrees of success. Certainly the period is accurately captured.

    The source material is so inherently strong in remarkable imagery—taken either as arresting contrasts of black and white, or so poignantly tragic or ironic as subject matter, or of such popularized historic interest—that one comes to admire Wendell’s

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  • Lee Chapman

    Comara Gallery

    Lee Chapman’s work consists of humorous figure paintings in oil glazes over a lightly textured gesso surface, which is already beginning to crack. The subject matter in Mr. Chapman’s painting deals with current, popular images in taste and fashion as well as contemporary variations on such themes as the Pope. In most cases the paintings become like large posters patterned after comic greeting cards.

    —Susan R. Snyder_

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  • Kalman Aron, Eugene Chodorow

    Feingarten Sculpture Gallery

    This group of drawings, pastels, and a few oils on paper by Kalman Aron form an inconsequential display of fashionably chic portraiture combined with a liberal potpourri of drawings a la Matisse and Bonnard, and once in a while a la Kalman Aron as in his “Five Faces,” a study of noses that reveals the artist’s altogether delightful sense of humor. Chodorow’s sculpture includes a large group of illustrative characterizations of which “Geronimo Warrior” and “St. Francis” emerge as typical examples. Except for rare moments of lyricism when he is carried more forcefully by the impetus to poetic

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  • Group Show

    Ryder Gallery

    Li Chen is represented here by several highly colored, rather impressionistic paintings of which “Autumn Landscape” stands out as her most interesting and subtle in composition and color. Margaret Hehman’s romantic landscapes are strong and show an innate sense of direction. Her “Harbor,” in a more expressionistic style, is a particularly sensitive painting. Ojeda shows some of his colorful charming though superficially decorative work, and Lee Hill exhibits her “Kabuki Dancer” which tends to be somewhat indecisive and weak structurally. Ken Glenn’s sculpture is chic and sleek while Henry

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  • Group Show

    Gallery 669

    This recently-opened cooperative gallery will present a series of three-man group shows. Featured in the present show are Allen Ruppersberg, Frank Malcom, and Douglas Edge. Working their way from students to professionals, the young men show different directions in painting, sculpture, and graphics.

    Susan R. Snyder.

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  • Arts of Southern California XVII

    Long Beach Museum of Art

    Departing from the traditional media designation theme, this series is aimed at capturing a specific stylistic attitude prevalent among Southern California painters—the personal, often subconscious, individual view. Unfortunately, many of the 16 artists selected don’t fit the bill, and the quality of the work leaves much to be desired. Primarily figurative, the imagery is often strident and obvious rather than introspective and esoteric, or in the more topical examples, doesn’t come through to the viewer. In an effort to display newer or lesser known local artists, the museum has obviously

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  • Sixth Annual Juried Show

    Palos Verdes Community Arts Association Library Gallery

    Surprisingly well-rounded and competent are the paintings by South Bay artists chosen for this year’s juried exhibit. Judges Lee Mullican, Emerson Woelffer, and Jason Wong have done an exceptionally fine job of selecting works of technical and esthetic merit from the hodge-podge of amateurs and professionals who typically enter such a contest.

    Awards, too, have been wisely given. George Csengeri’s first prize oil, a mauve abstraction with vertical lines arranged asymmetrically over a textured focus, manifests careful selectivity and synthesis of sheer essentials; Mary Zarbano’s second prize “Rain

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