• “Plastics: L.A.”

    Los Angeles State College

    “Plastics: L.A.,” an exhibition organized by Fidel Danieli for California State College at Los Angeles, runs from the superlative to the negligible, with a great deal in between. It is almost uniformly characterized by the most highly refined workmanship. The conspicuous exception is a peculiar work by Robert Fay Marks which incorporates a large, slightly dog eared piece of cardboard. Marks seems to be taking his departure from Ron Davis’s difficult illusionistic paintings, an example of which stands here as a keystone in relation to many of the works surrounding it.

    Yet there is a profound

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  • “Speed Sculpture”

    Pomona College Museum of Art

    Six motorcycles, one turbine dragster, two chrome-plated sculptures by David Gray and three works by Billy Al Bengston—a 1967 Dento and two carburetor paintings from 1961—are on display at the Pomona College Art Gallery under the title “Speed Sculpture.” Bengston, who is an expert on motorcycles, selected the pieces for this display, basing his choices on sheerly pragmatic criteria and making no claims that they are indeed works of art, either by virtue of his having chosen them or of any intrinsic qualities. For instance, a Honda Superhawk is included as an example of a safe, multi-purpose

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  • Antony Donaldson

    Wilder Gallery

    At Nicholas Wilder, British painter Antony Donaldson is showing six of the canvases executed during his year’s stay in Los Angeles. Donaldson has looked hard at the ornate insides of our ubiquitous ’30s movie houses; he has responded to Lichtenstein’s backward glance to the same era; and he can’t have missed the move into so-called “Abstract Illusionism,” particularly as manifested in the recent painting of Miriam Schapiro. But his is not merely one more case of a young English artist shaping one or another current American fashion into an uninspired esthetic commodity; he is an ambitious,

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  • Sam Richardson

    Robles Gallery

    Sculptor Sam Richardson, showing at the Esther-Robles Gallery, deserves more than one might grant him, considering only his most recent and most ambitious Real Estate, which is really a project rather than a “piece.” It is composed of 16 square-foot plots of rolling terrain, made of smooth cast epoxy. The segments that include (besides grassy green surface) furrowed ground, removable plastic puddles or even part of the bifurcated foam cloud will be thought more desirable than the squares of unembellished acreage. Thus their holders, when the project has finally gone to separate hands, will rate

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  • Anthony Berlant

    David Stuart Gallery

    Anthony Berlant attained a measure of notoriety during his inveterate tinkering phase (with patterned metal scraps fashioned into noisome little reliquaries). This obsession, worshipful as it was of the puerile and the innocent, seemed affecting only after having witnessed the artist absorbed among his rusty collections of trivia, looming in piles from cookie tins. The process of gathering, clipping, editing and assembling his inane materials contained more animus than the finished results, whether merely whimsical (as most were) or didactically pretentious (the wargames). Obviously this was

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