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SELMA GORLIN, MAURICE ABRAMSON

At first glance, the two artists' works seems to have a lot in common. Both break color masses into semi-abstract interlocking shapes. But of the two, Gorlin's paintings sustain the most interest. She does recognizable land and seascapes of Monhegan, Maine, in oil and casein. Abramson makes collages of evocative amorphous and geological shapes mostly in two kinds of color schemes, biblical (stained glass variety) or earth color (Spanish textural), Gorlin's oils are more muted and contained than her caseins--and considerably better. (Alexander, Nov. 18-Dec. 9)-J.B.

HSIAO CHIN

Shimmering fields of color, boldly intersected with bands of complementary hues, and studded with circles of contrasting tones add up to a stunning first one-man show by painter Hsiao Chin. The artist is a master craftsman with a superb knowledge of the dynamic potential of color relationships. The emotional indulgence suggested by his glowing luminous color fields is effectively counterbalanced by Chin's acute disciplined sense of order and harmony. Here we see another example of the Oriental gift of reconciling opposites. The painter manages to integrate cool and warm, emotional and intellectual, action and stasis into a strikingly beautiful, perfectly unified whole. (Rose Fried, Dec. 19-Jan. 13)-C.N.

ALBERT STADLER

The artist is concerned with the enigma of solidity and with the problems of establishing for us and for himself a defined spacial and formal statement. He complicates his own problem by insisting that the forms be suspended in the color field, but he cannot decide just where. Some forms are solid planes that lie on top of the field. Others are submerged under an overlay of rolled-on white but emerge at some point when the artist paints over the form with transparent or solid color. Unfortunately this device is obvious in most paintings, notably in Drift where the strokes of the roller interfere with the application of the film. In Trace the result is more satisfying, but the additional color applied to the vertical orange stripe seems inadequate, and does not define the shape, giving the impression that it was strengthened in tone as an indecision rather than a functional necessity.

The most successful paintings are Reet and Solar. In both of these the overlay of rolled-on color is not exclusively white but contains tones (mostly yellow) that unify the color field that lies underneath. The function of the overlay is visually satisfying and the emerging/submerging forms seem at home. Solar is a masterpiece. The large red form is an organic definition that seems perfect and could not have been done any other way. The purple solid at the upper left is toned so that it belongs in the general tonality of the painting even though it is not within the atmosphere. (Poindexter, Oct. 7-27)-J.F.

POUSETTE-DART

Pousette-Dart's all over paintings, particularly the ones that are more thickly encrusted, look as if they have been dappled or ribboned on straight from the tube. Whether tube or brush, however, is of little concern to the artist as long as it is "from the point." This effect suggests a kind of pointillism although his aim is to achieve penetration.

On this moon surface or earth crust are interlacing patterns of tiny spirals, stars and craters. There is often a larger imploding presence that may be immediately felt or emerges only with more intense viewing. What at first appears to be a random design reveals a Mondrian-like grid or latticework underneath as

Dec. 19--Jan. 6  RINGOLD "American People"
Spectrum Gallery 54 West 57 St.

Jan. 15th-Feb. 3rd  Lefevre Jacoby
Constructions & Relief Paintings
NEW MASTERS GALLERY 19 East 57th Street N.Y.C.

ROBERT REID
figures on the beach
Thru Dec. 14
Grand Central Moderns 8 West 56 Street, N.Y.  TN 7-3344

Beatrice ERICSON
LETTERS TO THE UNKNOWN
BRATA 56 THIRD AVE. NEAR 10TH  NOV. 24-DEC. 14

Homage to MARILYN MONROE
Sidney Janis  15 E. 57

PAUL NONAY
recent paintings
Dec. 16-Jan. 11
Grand Central Moderns 8 West 56 Street, N.Y.  TN 7-3344

BERNARD SIMON  SCULPTURE
Jan. 6-20
42 EAST 57 STREET, N.Y. RUTH WHITE GALLERY

[[note]] Arts Magazine 1968 [[/note]]

one draws close to the painting.

None of these forms are innovations for the artist. He has been working with them since the 'forties (his relationship to Pollock, Tobey and Gottlieb is too complex to discuss here). The transition from a larger calligraphy to a more densely knit, molecular surface as well established by the time of his retrospective at the Whitney in 1961. Large images like a phoenix or a flower that may seem new have roots in much earlier work.

Despite these consistencies, in the final analysis, the shadowy images (presences) appear thin and stylized. This, coupled with certain sugary colors or dry paint quality, spoils some of the paintings. The more all over ones where paint is either very heavily applied or very delicately blended are the most satisfying. (Betty Parsons, Nov. 14-Dec. 2)--J.S.

SCHOOLS
THE ART STUDENTS LEAGUE OF NEW YORK
215 W. 57th St. New York 19, N.Y. Circle 7-4510
Stewart Klonis, Director

Ninety-second regular session now in progress. Students may register and begin study at any time. No entrance requirements. Fifty nationally-known instructors to choose from.

Individual instruction

Drawing, Painting, Sculpture, Illustration, Fashion, Portraiture, Graphics. Anatomy, Textile Design, Commercial Art, Lettering, Mural Painting.

Three sessions daily; classes on Saturdays for children and adults; one and two-evening a week classes; part time registration; write or phone for illustrated catalogue.

NATION'S LEADING SCHOOL OF FINE ARTS SAN FRANCISCO
BFA MFA DEGREES; PAINTING SCULPTURE CERAMICS PRINTMAKING PHOTOGRAPHY
ART INSTITUTE
800 CHESTNUT ST. SAN FRANCISCO, CALIF.

PENNSYLVANIA ACADEMY OF THE FINE ARTS
Oldest Fine Arts School in the United States
Professional training in Painting, Sculpture and Graphics for serious art students. Faculty of distinguished artists. Coordinated with University of Pennsylvania for B.F.A Coed, Residence for women. Day, evening, summer. Catalog: Broad & Cherry, Phila., Pa. 19102

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