• Keith Sonnier, Neil Jenney, Dan Christensen, David Budd

    Noah Goldowsky Gallery

    At the Noah Goldowsky Gallery an end of the season (non-) group show included two young sculptors, Keith Sonnier and Neil Jenney, and two painters, Dan Christensen and David Budd.

    What Jenney calls his “non-visual sculpture” consists of a number of thoroughly unartistically arranged water-filled troughs of plastic and wood, fed with blurping and bubbling rubber tubes through which air is pumped by an exposed and shaky generator. To one side of this completely unassuming rattletrap and behind a screen in the corner of the room grows some dried-up moss dutifully watered by the ubiquitous Dick

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  • Sam Gilliam

    Byron Gallery

    In his first one-man showing in New York, Washington artist Sam Gilliam displays a range of touch and sensibility which indicates both his dependence on and divergence from the methods of other Washington painters, Louis and Noland. Although Gilliam takes off from Louis’s technique of spilling paint into troughs of canvas, the structuring which he obtains from his own version of this practice is less artfully contrived and more casual than the specificity of design which distinguishes the older artist’s work. Gilliam prefers to take advantage of surface tactility and attention is focused on the

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  • Doug Ohlson

    Fischbach Gallery

    Doug Ohlson showed a group of impressive multi-part paintings at the Fischbach Gallery in May. The monochromed vertical panels (each 18“ x 90”, a 1:5 ratio maintained in the placement of squares within them) were hung about 2 or 3 inches apart to form continuous horizontal paintings, often spanning an entire wall of the gallery. Head on these paintings look like tightly structured, though still divided groups of modular units which seem to be organized into formal progressions as the squares inside the panels are shifted in pairs or trios from one position to another across the parts. A logicality

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  • George Caleb Bingham

    The Art Galleries

    The exhibition of paintings and drawings by George Caleb Bingham (1811–1879) that was held in Washington, Cleveland and finally in the Art Galleries of UCLA was comprehensive and very beautiful. In my opinion Bingham had by far the finest intellect of any American painter—by intellect I mean the ability to elaborate a great abundance of pictorial incident while at the same time subordinating it rigorously to the requirements of an overall design; and while intellect is not the only means to excellence in painting, in certain circumstances it is indispensable, since it alone can give an artist

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  • Frederic Remington and Charles M. Russell

    Various Locations

    Two exhibitions of painting and sculpture by Frederic Remington (1861–1909) also ask it, although in a greatly attenuated form. The first was shown in Oshkosh and Minneapolis before coming east to the Clark Art Institute in Williamstown, Mass.; and the second was the final show of the past season at Wildenstein. At Wildenstein, Remington had to share the billing with Charles M. Russell, but despite initial misgivings I thought in the end that the effect was beneficial, oddly enough. The point is that Russell is not an artist at all, and seeing how Remington handles the same subjects as Russell

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  • “Art of The Real”

    MoMA - The Museum of Modern Art

    Some months ago the Museum of Modern Art opened its new “study center”; students and professionals using its facilities will have a pretty problem in deciding whether last summer’s “Art of the Sixties” or this summer’s “Art of The Real” best represents the Museum’s own indifference to the entire matter of a responsible attitude toward the art of this decade.

    We must assume that at some point Mr. E. C. Goossen informed the Museum that he wished to present an exhibition entitled “The Art of the Real”, and that the point of the exhibition, as stated in the catalog, would be that “Today’s ‘real’ .

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  • Light: Object and Image

    Whitney Museum of American Art

    By now it should be clear that among the various artists working in light, several distinct attitudes have emerged, some in deep opposition to others. Had Mr. Robert Doty devoted a few moments of serious contemplation to these different approaches, the hideous embarrassment suffered by the Whitney Museum at the disastrous history of Light: Object and Image might have been avoided. Mr. Doty’s curious catalog notes that, “Because their work was so appropriate to this exhibition, both Douglas Wheeler and James Turrell were invited to participate. However, both later withdrew upon their own volition.”

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