reviews

  • Lee Mullican

    UCLA Art Galleries

    Lee Mullican is now a middle-aged painter, traditional (i.e. with a faith in the “magic” of canvas and paint) and academic (a professor at UCLA); exhibitions of his work force the already implied question: is the artist a visionary or a cautionary? Mullican’s general style pumps for the former, that is to say personal, colorful, mystic, optimistic, while his technique, his physical way of making a painting, suggests the latter. The exhibition consists of 29 paintings, from 1965 to 1969, ranging in size from six by nine feet to two by three feet, but the images—a complicated graphic which fills

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  • John Chamberlain and Mel Ramos

    Mizuno Gallery and David Stuart Gallery

    John Chamberlain and Mel Ramos, both with shows of individually new work nevertheless firmly planted in their respective grooves, are a polar pair: art as pure play and art as the calculated product of a professional. Chamberlain is the player, the artist who links up the caveman, with a glimmer of an idea lurking in the back of his head, and the contemporary, dedicated, alien, humanist-intellectual. “If this bit of next-to-nothing can’t, by rule, be art,” he seems to say, “then nothing is.” What Chamberlain shows this time are seven crumpled paper-bag sculptures, some unadulterated, others with

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  • Tom Holland

    David Stuart Gallery

    Tom Holland’s eight new paintings (plus one in the office) called the “Malibu Series” are made from sheets of translucent plastic, liberally and loosely painted with predominantly white, black, or an overall mix like a chalky rainbow. The sizes float in the seven-foot-square neighborhood. The pictures present themselves as extended paintings, a two-dimensional, rectangle-based art (Holland is a painter) rather than a flattened, polychromatic sculpture. The complexity of surface is usually two or three units (units = a felt plane, not each separate physical piece), though the basket-weave paintings

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