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of art. In this respect it seems astonishing that the context of art has changed so in the past two years that Artschwager's pieces, which he originally wanted not to look individual or hand-made but to blend somewhat confusingly with things around them, have now come to look so personal. That they do carry this stamp of personality seems to me to be a source of strength. 1The story re-appeared recently, in a caption, in Lucy Lippard's Pop Art (Praeger, 1966). It was apparently first written by Brian O'Doherty in the N.Y. Times, from information offered by Ivan Karp, and was repeated by Don Judd (Arts, Sept '64), who later retracted it (Arts, March '65); unfortunately it is still widespread. Paris Continued from page 24 conscious mental elaboration whose result is aggressively material and entirely symbolic. A work of this sort is hard to seize. It is obscure even for a Frenchman whose peasant heart remains attached to his land. One wonders what it would mean to an American accustomed to moving from the Atlantic to the Pacific coast without batting an eyelash. The more so in that it has a little of the formidable Lyonnais spirit which is almost unparalleled in France: a mélange of esotericism, satanism, exorcism, black masses and angélisme (which Larousse defines as "a desire for extreme purity"). It is here perhaps that one should look for the source of this commitment to occultation. Grafted on a baroque and sensual temperament, it also offers the explanation for all the symbolism that surrounds this epic of "the dwelling." Degottex, da Silva Degottex has achieved something new. Already in his precious show (also at Jean Fournier) we saw pictures made up of a circle drowned in light grey. This time the whole show is given over to circles. Some are cut out of the canvas, revealing a wooden plaque painted in nuanced greys. The economy and quality we associate with the Far East reign here. After his metasigns, metaspheres. They are very beautiful object-subjects of contemplation. Vieira da Silva continues her journeys through Babylonian cities. She has just reached an important stage. Her new work (Galerie Jeanne Bucher) shows a perfect mastery of the urban reverie. Order, Memory, Library, Equity: her titles express the calm and orderly climate of her painting. And sometimes her pessimism as well (Ineluctable Itinerary) or simply her disquiet (Impossible Enterprise). What dominates is the affirmation of her style even when she makes it the object of tenderness. Tapies Dust; Fresh Air Tapies painted himself into a corner several years ago. He had wanted to do away with the silent poetry of his walls by adding moulded objects to them, arbitrary ones like a cane or a hat for example. The results were rather disconcerting. This time he seems to have succeeded in painting figuratively without the aid of these objects. A herculean foot and a giant hat in his show at the Galerie Maeght are two good examples. On the other hand his glasses have a tendency to turn against him. Generally, he remains loyal to his dust and his sand. His painting is like crude murals with no trace of Altamira; he limits himself to a few graffiti and a few rents in the fabric. Tapies acquits himself honorably in a perseverance which could have been fatal. A small group show assembles a certain number of painters placed under the sign of Air. The Galerie Cimaise Bonaparte which is a great supporter of Bachelard has al- January 1968 [[image]] Gris, Guitar, 1926-watercolor- 7" x 8¾" Arp Bissier Bonnard Braque Cézanne Chagall Corot Daumier Derain Dubuffet Dufy Ernst Sam Francis Giacometti Gris Kandisky Klee PETITS FORMATS illustrated catalogue Galerie Beyeler Bäumleingasse 9 Basle Laurens Léger Miro Mondrian Munch Nicholson Nolde Picasso Pollock Rauault Rousseau de Staël Tobey Utrillo Villon Vuillard [[image]] Léger. Breakfast. 1914-gouache-18" x 14" 61
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removed [title][right side of page][left column][abstract art, print, signed][right column]- this is not required
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