San Francisco

Marvin Lipofsky and Keith Boyle

The Hansen Gallery

The Hansen Gallery recently featured free forms in blown glass by Marvin Lipofsky, a pioneer in the contemporary revival of free blown glass as an art idiom, and who was chiefly responsible for the organizing and equipping of a glassblowing studio foundry at the Berkeley campus of the University of California.

Professor Lipofsky’s exhibits seem chiefly interesting for the truly impressive diversity of unique colors and textures achieved by combining glass with various metals and other pigmentive materials. In form the pieces are all basically bulbous or tubular. Esthetically the most intriguing devices in this exhibition were the multicolored and scintillating labyrinthine “optical environments” formed within the hollow interiors of some of these complexly corrugated globules as viewable through the transparent glass closures terminating the tubular necks which characterize most of the pieces and are presumably vestiges of the section nearest and connecting to the blowing tube.

Co exhibited with the Lipofsky glass forms was a selection of paintings and drawings by Keith Boyle. Only the drawings were recent and comprised perhaps the best of Mr. Boyle’s exhibits. There were two or three paintings from 1965 and 1966—skillful essays in the Op trends which preoccupied Boyle at the time, while three or four canvases from 1967 reveal a falling away from Op to an exploration of hard-edge abstraction in a relatively bland palette.

Whitney Halstead