reviews

  • Anthony Caro, John Hoyland, Bryan Kneale, John Carter, Tim Scott, Derrick Woodham, Nigel Hall, Peter Blake, Richard Hamilton, David Hockney, Allen Jones, Kitaj, Laing, Paolozzi, Peter Phillips and more

    UCLA Galleries and Nicholas Wilder Gallery

    The only optimistic view that an interested local observer can take of the Whitechapel Gallery’s New British Painting and Sculpture exhibition at UCLA is that it administers a potent shot in the arm to Los Angeles; after a first unedifying run through the show, one comes out at the other end with fresh confidence in the seriousness, originality and refinement of our own vanguard artists.

    Of the seventeen artists represented here, only two—Anthony Caro and Bryan Kneale—suggest a respectable enterprise. Kneale’s Cumae, composed fundamentally of three aluminum discs, two perspex bubbles and a

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  • John McCracken, Craig Kauffman, Ed Ruscha and Llyn Foulkes

    Pasadena Museum of California Art (PMCA)

    In its ten years of existence, the Paris Biennale (Manifestation Biennale et Internationale des jeunes artistes) has incurred a reputation in the United States for ignominy, extending even beyond the prevalent critical tendency here to either ignore or imprecate the international “competitions,” including those at Venice, Sao Paulo and Pittsburgh. In the face of what Max Kozloff has called the “piggish provinces” of the Biennales in general, it is perhaps rhetorical to demand of our U.S. commissioners to the Paris competition that they rise above the aura of provincialism that so often characterizes

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  • John Battenberg

    Esther-Robles Gallery

    At the Esther-Robles Gallery, John Battenberg’s latest angle on World War I aviation—focusing now more on the machines than on their intrepid pilots—makes for an extraordinarily handsome and impressive display. The pivotal work here is transitional, placing the familiar skeletal cast aluminum flyer within his plane, which. is suspended parallel to the wall on a vertical course. The machine (Full Detail—Fokker Dr 1, 96 x 72”) is given as a truncated section of fuselage and wings around the open cockpit, formed beautifully by stretching canvas tautly over a plywood frame, covering this with

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