• Egon Schiele

    Felix Landau Gallery

    Exhibited here are forty-five works—paintings, water colors and drawings of Egon Schiele. From 1907–08 date several small oils: a portrait derived from Toulouse-Lautrec (Portrait of Bertha von Witkorin, 1907), several landscapes and scenes of ships in harbor. Contemplating the painterly landscapes of these early years one could hardly predict what was to come, not the varied themes and not the manner of drawing. And yet, in Ships in the Harbor, 1908, the scraggly attenuated lines of reflection in the water prefigure the sort of Art Nouveau style Schiele will soon employ.

    The principal part of

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  • Hazen Collection


    Fifty-three paintings from the Hazen Collection have been selected for this traveling exhibition, ranging from a Daumier oil, Le Couple Chantant and a somber Toulouse-Lautrec, The Absinthe Drinker, 1888, to Jasper Johns’s The Little False Start, 1959–60. However, in this exhibition many of Mr. Hazen’s more recent acquisitions have not been included. Such a collection does not mean to be comprehensive. What makes it outstanding is that it holds some very fine paintings by the artists represented. The exhibition is not based on a certain theme, school, or series of influences, though it can be

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  • Craig Kauffman


    Most important in Craig Kauffman’s new work at the Ferus/Pace Gallery is the “disappearance” of the mechano-organic shapes which were his individual forte. These shapes, biomorphic, eccentric cams and linear capsular shafts, first emerged painted and outlined upon sheets of clear plastic. In the following move the shapes were molded, protruding from the surface, and transparently dyed. Now, retaining the rectangular format but sacrificing those earlier trademarks, he indicates a painter’s concern for the traditional picture plane, though it be a relief.

    The unexpected progression is that the

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  • John Battenberg

    Esther-Robles Gallery

    John Battenburg’s imposing aluminum sculpture based on a World War I Air Corps theme is a powerful and moving indictment of war, and the artist’s gift for understatement adds immeasurably to its appeal. The high intensity of his style is sustained dramatically through Surrealism, and the viewer is made to feel the presence of the figure in his work all the more palpably by its absence. Looming larger than life, his strange and hauntingly rendered uniforms, helmets, goggles, and gloves seem to drape themselves over invisible bodies enveloping their spirits as once the uniforms themselves enveloped

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  • David Glines, Les Biller, Ray Brown

    Ceeje Gallery

    Three local artists join in displaying new etchings and lithographs. David Glines’s black and white landscapes have vitality and feeling, but it is his large portrait of Faulkner which dominates his showing. Adhering closely to the character and likeness of the author, he displays an admirable gift for portraiture. Les Biller’s affectation of an Oriental style is glibly superficial. His most ambitious work, Fan in a Mountain Stream, is an involved medley of colors and lines that is “much ado about nothing.” With alienation as his theme, Ray Brown’s portraits confront the viewer through an

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  • Tom Holland

    Nicholas Wilder Gallery

    Tom Holland’s “camp” confections are dished up with an eye to the current market and a brush dipped in a frosting mix of the most indelible Della Robbian hues. Gingerly jocose in their humor are his Blown Blooms, discreetly peeking in their daisy freshness from the nose cone of a moon rocket, which is about as far out as you can get with a few flowers, and now that the “way out” is the “way in,” there’s nothing left to do but turn ourselves inside out, hang the pictures upside down, and know that everything will come out alright in the end.

    Estelle Kurzen

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  • Leonard Esbensen

    Herbert Palmer Gallery

    Leonard Esbensen’s variations on the square as a square are the last word, and he manages to get a few in edgewise. Viewed right side Op or Op-side down, his Whiff, Sniff, Biff, and Wow, aside from their distance from one another (which is relative to their distance from the viewer) and their optional implications which are inner oriented, evolve through a whole spectrum of continuities which, broadly speaking, maximize the minimum. The earthiness of his sculpture is belied by the fragility of his materials, papier-maché treated with plastic resin. A plethora of prurient fecundity, his Yepigregrebl

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  • Jerry McMillan

    Pasadena Museum of California Art (PMCA)

    Jerry McMillan is a talented young photographer modestly showcased at the Pasadena Art Museum. At their simplest his works are vignetted, i.e., isolated, in round-cornered, wide borders and mounted upon framed grounds in the fashion of drawings. Others, in irregular formats, also call attention to the variety of presentation possibilities for photographs besides that of matting for a portfolio. These cut out manipulations are seen usually in magazines or in advertising and one rather wishes they didn’t strike so close so often to frank commercial application.

    Photographs within other photographs,

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  • Stephen Werlick

    Rex Evans Gallery

    Representational bronze figures of Stephen Werlick are exhibited at the Rex Evans Gallery. Most of the sculptures are under a foot tall; four figures are about three-quarters life size. The defining interest of Mr. Werlick appears to be how gesture, pose, arrested movement affect the sculptured body and what emotional state that figure can connote. He seems to draw his inspiration from modern dance (Attitudes #1–5) and mime (Boy Running).

    If this approach were successful, the total concept of the figure should be implicitly inherent in the particular gesture or attitude. Unfortunately this is

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