• Keith Sonnier

    ACE Gallery

    It is difficult to label Keith Sonnier’s newest piece accurately, it is difficult to appreciate its sense correctly, and it is difficult to find the exact reasons why it is so good. “Sculpture,” “environment,” “video projection” and “installation” have all been used with partial accuracy; I opt for “installation” because it’s a concise new/old word, and given the unusual synthesis of the work, an apt one. (The rarity of a fair and inclusive generic label is frustrating not out of a sinister desire to pigeonhole art, but because it tangles further thought about it.) As for the quality of Sonnier’s

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  • Robert Rauschenberg

    Robert Rauschenberg’s Currents, a giant, episodic serigraph over fifty feet long, printed on a continuous roll and mounted with the leftovers curling out from under the plexiglass covering, is a document of the times made up of the documents of the Times, the newspaper, mostly through photos and headlines.




    Rauschenberg’s activity is so varied and continuous that he does for the backstretch of a museum’s season what Matisse usually does for the opening of the buildings; I think it is more due to this attitude toward the

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  • Larry Bell, Billy Bengston, John Chamberlain, Ken Price with Ed Moses and Vija Celmins

    Mizuno Gallery

    The group exhibition at Mizuno makes a statement not so much about the artists as about the gallery, which represents, on the whole, the best group of local artists and stages, as a whole, the most interesting shows. The stable combines internationally active artists like Larry Bell, Billy Bengston, John Chamberlain, and Ken Price with Ed Moses, Vija Celmins and, once in a while, a younger artist like Greg Card or Ann Titus. All but the latter two are included in the summer show. The work, characteristically, is eccentric, and the strangest of all are Chamberlain’s couches, literally hacked out

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  • Oscar Fischinger

    Long Beach Museum of Art

    Oscar Fischinger’s retrospective at the Long Beach Museum of Art (which occasionally comes across with this kind of small but substantial exhibition) is another overdue appreciation of a “pioneer modern.” Fischinger, however, is both more and less than that. More, because of his film-making activities, which began with drawings for Melies’ Woman in the Moon, lasted through a fertile German period, survived a classic artist-philistine embroglio with that patron saint of American treacle, Walt Disney, and concluded, over half the artist’s life, in something a little better than obscurity in Southern

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