• Joseph Raffael, William Allan and Charles Gill

    The Berkeley Gallery

    The approach of autumn found the local galleries one by one either reopening or again initiating formal exhibition schedules after bridging the summer months with casually rotating group shows made up usually of items left in storage from the previous year’s feature presentations of stable artists. The Berkeley Gallery’s 1967–68 season slumped to a close with two successive shows which were perhaps an all-time low for this gallery: photo-collages by Joseph Raffael and “boxes” by William Allan. Both shows were tediously overextensive and reiterative.

    The Raffael photo-collages explored without

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  • Jan Evans and Ernest Posey

    Galeria Van Der Voort

    Over the past months the Galeria Van Der Voort has been developing an excellent stable of artists who are exploring and contributing to those ways of working which might well be termed “Neo-Pythagorean” currents in the contemporary mainstream; artists of admitted predilection for the drafting board, ruler and compass, whose work is crisp and hard-edged, bridging the gap between the “pure” and the “decorative” in the elaboration of smooth, poised symmetries wrought with meticulous care and craft in whatever medium and sometimes projective of mathematically contrived, systematically pursued

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  • Terry Allen

    Michael Walls Gallery

    Before a recent suspension of its exhibition schedule pending imminent relocation in more adequate premises presently in preparation, the Michael Walls Gallery exhibited drawings by Terry Allen, a young native of Wichita, Kansas, currently living in Los Angeles where he graduated from the Chouinard Art Institute. Allen displays a precocity of graphic dexterity as well as of graphic wit in a cartoon style owing much to such by-products of the Hippie sub-culture as the Zap Comics and their prototypes in “camp” psychedelic cartoon posters. In a rather prolific output of mixed-media spoofs (using

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  • Thomas Sully, Rembrandt Peale, Albert Pinkham Ryder and Ralph Blakelock

    Maxwell Galleries

    Maxwell Galleries played museum on an ambitious scale recently in organizing and presenting at its Sutter Street showrooms an extensive cataloged exhibition of historic American painting in which a large selection of items from the firm’s own considerable inventory of American period paintings and works by late 19th-century East Coast Impressionists and West Coast Regionalists was fortified with extensive loans from the American holdings of public and private collections throughout the Pacific Coast area. While no doubt the Public Image and promotive publicity functions accruing from the prestige

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  • Milton Avery

    Reese Palley Gallery

    One of the more obvious Maxwell omissions in this latter area was compensated for only a few blocks away in the Reese Palley Gallery’s showing of a selection of works by the late Milton Avery, whose sometimes lyrically poetic, sometimes blandly humorful, and often decoratively composed stylistic and quasi-abstract impressions of landscape, figures, birds, plants and trees, deriving from and modifying many mannerisms from turn-of-the-century organic free-form idioms, blended well with the faint echoes of Van de Veldian Art Nouveau lingering in the opulent, sweeping curves of spiral ramp and

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  • “Looking Back: Bay Area 1945–1962”

    San Francisco Museum of Modern Art (SFMOMA)

    Historical moods also prevailed at the San Francisco Museum of Modern Art in (yet another) provincial retrospective-introspective show devoted to 25 artists who were prominent in the San Francisco art community between 1945 and 1962. While the show was entitled “Looking Back: Bay Area 1945–1962,” it was, on the admission of its organizer, curator John Humphrey, primarily devoted to San Francisco. The East Bay and influences centering around the University of California, and deriving from Hans Hofmann’s incumbency there some time back, were neglected in favor of the oft-retold legend of the

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