• David Weinrib

    Royal Marks Gallery

    At the Royal Marks Gallery David Weinrib has a good sized spread of pieces in the new manner and technique seen in the just-past Whitney Annual. Superficially, the novelty of Weinrib’s new pieces is in the material. He is now using a clear, or at least translucent plastic that can be solid-cast quite freely. Right off, this produces several unique effects, in that light is not only reflected from the surface of the work, but may penetrate into and through it as well. Happily, it is the spatial implications of these phenomena which Weinrib has chosen to work with; that is, now that the works not

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  • Drawings From New York Collections

    Morgan Library

    The second of the exhibitions of Drawings from New York Collections, organized jointly by the Metropolitan Museum and the Pierpont Morgan Library, is now at the latter of these institutions, and represents very well indeed The 17th Century in Italy. The preceding exhibition, that of Italian Renaissance drawings (held at the Met), had dealt exceptionally well with a field made extremely problematic both by the rarity of the material and the consequent limitations of local collections whether public or private. With 17th-century Italian drawings, there is a happy abundance of material and a

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  • Fairfield Porter

    Tibor De Nagy Gallery

    Fairfield Porter’s exhibition at the Tibor de Nagy Gallery presents a complete exposition of the different currents in painting with which the artist has been involved over the years. Porter’s approach to painting is not to scatter his shots over a group of only tangentially related modes, but rather, within the tradition of painting from nature and life, to frame and resolve pictorial questions suggested by his various genres.

    The show is dominated by three large canvases, each striking a different note. Columbus Day gives us the familiar Porter landscape with houses, with a large flickering

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  • Edward Avedisian

    Robert Elkon Gallery

    At the Robert Elkon Gallery, Edward Avedisian shows seven large canvases which continue the line of simplified color abstractions he has concerned himself with for several seasons now. In this show, the ideational framework of each canvas is the same: into a square or rectangular color field, we see the intrusion of several forms which read as part of a very large striped circular disk. These stripes are in two colors only, and there are always three of them in an a-b-a arrangement. All the color, of both field and stripes is stained on the canvas, there is no trace of brushwork. However, the

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  • Jason Seley

    Kornblee Gallery

    Jason Seley’s current show at the Kornblee Gallery has taken a decided step away from his earlier open, predominantly frontal manner to a confrontation with the massy problems of working fully in the round. The compositions are still additive, in that they are assembled from the automobile bumpers which are his trademark, and the knobs, thickish flanges, bulletlike mammary projections of the raw material make up a basic repertoire of forms which the artist uses again and again in different ways.

    The three largest pieces in the show form a group in themselves by virtue of the particular way they

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  • Louise Nevelson

    Whitney Museum of American Art

    There is no doubt that the present quasi-retrospective of Louise Nevelson’s sculpture at the Whitney, dispersed throughout its most prestigious 4th floor gallery, is among the most stunning and evocative installations seen in New York in a long time. Much praise must go to our leading woman sculptor for the perfectionism and imagination deployed in the setting of her work. But in thus adding a chirrup to the din of adulation which has met this exhibition, one should also take the liberty of sounding a note of reservation and restraint.

    That Louise Nevelson should be considered one of our unassailable

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