Cézanne has been approached so often by way of interpretive historical analysis and re-analysis that the pattern has apparently become irreversible. Thus John Coplans, writing in conjunction with his exhibition of Cézanne watercolors at the Pasadena Art Museum, says, “Cézanne’s discoveries led to the Cubist structure and finally into the art, for example, of de Kooning and Kline. Monet’s art, on the other hand, became the genesis for Pollock and the field painters, in particular, Newman, Still and Rothko, with such artists as Guston and Hofmann, for example, straddling both aspects. Thus Monet’s

The Esthetic Research Center (ARC), formed under the leadership of Charles Mattox, has collaborated with Century City to present the first fruits of its existence, “Sculpture in the City.” ARC was initiated with the primary objective of creating (at last) a viable liaison between certain local artists working in “new materials” and/or “monumental form,” and those industries disposed to make their resources available to such artists. The second purpose of ARC, as demonstrated in the current Century City project, is to see that monumental outdoor sculpture is indeed displayed out of the doors of

The inventions of Constructivism have infiltrated American sculpture over the last several years in so many undisguised usages that it is seldom necessary even to mention their presence. But in the case of Robert Hudson’s new sculptures, six of which are at the Nicholas Wilder Gallery, the Constructivist ethos has crept in to a degree which makes the analogy central. Actually it is less the extent of Hudson’s use of Constructivist ideas than the special way in which he uses them in combination with indigenous idioms which gives his work its specific character of historical eclecticism. Hudson

The University of Southern California’s Fisher Art Gallery is showing a retrospective view of prints and drawings by Jesse Reichek. Although Reichek has been working in California for a number of years (he teaches at the University of California at Berkeley), and has had periodical shows in New York and Paris, he has been curiously neglected in Los Angeles; in fact this exhibition introduces his work here for the first time. It is not inappropriate that the selection excludes paintings, for Reichek’s most compelling ideas seem to find expression in small format, and in media which enable fine

Donald Llewallen’s paintings at Ceeje are lucid and carefully executed works whose primary force of persuasion rests in their illusion of internal luminousness. The scale and varying geometric compositions of the canvases serve the impression of subtle, stratified light in frontal and retreating planes: Llewallen restricts himself to uniform vertical panels or undivided picture surfaces. The tonality is limited to black, white and grey.

Portal Series II, Two Ways (9 x 9’) is divided into equal halves. The left rectangular section is shaded at the bottom, lightening gradually upwards; the right

The opening exhibition at Gallery 669—operated by a former manager of the Minami Gallery in Tokyo—is an environment of rainbow-striped objects and perforated boxes by Japanese artist Ay-O. It is called Tactile Rainbow #6. The “Rainbow” refers to a selection of ready-made items like plates, cups, spoons, matches, ashtrays, etc., painted with colored stripes, a series of “paintings” (these are striated all over, including the frames), and three Life Magazine covers with arbitrary sections of the photographic design painted in the same bright spectral patterns. Two of the covers represent American