Los Angeles

Two Group Shows

Heritage Gallery and Feingarten Sculpture Gallery

Heritage Gallery features an extensive group show, and along with its collection of local artists are examples from the work of Cameron Booth, William Gropper, George Grosz, Rico Lebrun, Henry Moore, and Moses Soyer. Among the locals, Sicner’s eye-catching Surrealist collage The Avenger shows the artist’s taste and resourcefulness in selecting and ordering his material, as well as his admiration for Magritte. Simcock’s Pigeon Huts offers realistic landscape, as does Bibermann’s Retreat. Rosman’s Go Go Scene, in the Pop vein, features a hippy twister surrounded by vignettes from the jazz scene. Cabral’s Conversation is quiet in color and sculpturally stylized in composition, while Schnabel’s large canvas Children’s Games has a stained-glass effect and shows the influence of Klee. Bailley exhibits his Rock and Sea, Lacey his unusually large etching of three figures, Trio, and Berger her water-color, Landscape. Sherman’s Second City of Sarneth, a resplendent scene of India, is romantic and moody. White features a large back view of a nude in charcoal and crayon. Zaslove’s Bird Cage painted with romantic realism characterizes husband and wife, the symbolic title expressing their respective entrapments. Also presented in the show is the work of three sculptors—Russin, Wein, and Huter.

At the Feingarten Sculpture Gallery another group show includes pastels and drawings as well as sculpture. Chodorow shows some of the more imaginative pieces from his recent exhibition at the gallery, and Ralph Massey exhibits his Go Go Girl whose ample proportions more than fill her scant bikini. In another mood is his Predators, man and beast, molded of ceramic reinforced with steel. Edward Merryfield’s cast bronze Icons are dramatic and emotional in their symbolism. International Icon especially has a grimly haunting aspect.

Okamura shows a large selection of recent pastels all of which display his gifts as a colorist but which do not succeed in explicating his imaginative power beyond the point of pictorial pleasantry. Elmer Friedensohn’s charcoal landscape drawings of Long Island are scenically picturesque, while Guerreschi, from Milan, shows large pencil and ink wash drawings that are both expressionistic and Japanese in feeling. My has the title included in the picture as does his drawing of the Concentration Camp. Both black and whites are splashed with red ink and this sudden intrusion of symbolic color intensifies their emotional impact.

Estelle Kurzen