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April 28, 1947 MKR'S art t outlook New York Exhibitions BORIS MARGO A two-way visual adventure is in store for those who visit the Seligmann Galleries, 5 East 57th Street, where Boris Margo is currently exhibiting his cellocuts. First, the spectator will find each print offers him a new mythical world full of strange shapes flooded with colors of surpassing beauty. There are, for instance, prints which look like weird planetary cities to us but which, we are sure, will evoke different thoughts and different imaginings in each person. The second adventure is to figure out the methods and machinations by which the artist achieved his multitudinous inventive textures and techniques. Margo uses hard surfaced papers, which show up the clear flow of one color over another to create a third tone, and soft papers which tenderly absorb the colors for that they appear to melt one into another in utter harmony. Arrival From Space is a fine example of printing on soft paper as well as proof of the artist's ingenuity in creating ever-differing shapes. Margo's prints will be on exhibition through May 3. CHARMION WIEGAND Less emotional and fluid than Margo, but juts as nonobjective in her art is Charmion Wiegand, exhibiting collages, gouaches and oils at Pinacotheca, 20 West 58th Street. We are given to understand that Miss Wiegand was at one time entirely academic in her approach to painting, but was diverted into the field of total abstraction by acquaintance with Mondrian. This is apparent in her gouaches which exploit geometric forms in a monastic fashion. She also adheres to the geometric in her collages, made up of tabs of metal and other papers combined with painted areas and set off with black lines. It is in her oils that Miss Wiegand pulls away from the pure science of the Dutch abstractionist and amalgamates it with the amoebic forms used by Arp. The result is vigorous, intellectual design which at the same time projects emotions through the use of pure colors, their contrast and the active juxtaposition of shapes. These gay, closely packed designs, set of effectively by wife snow-white frames, will be on exhibition through May 10. HOBSON PITTMAN Hobson Pittman, painter of interiors punctured by gigantic windows and people with ghost-like spinsters, is showing a pastels of Charleston at the Milch Gallery, 108 West 57th Street. As in his oils, Pittman applies his pastel colors so that they seem to radiate outward, although they are paler and less intriguingly dramatic than the heavier pigment paintings. These Charleston interiors, done for Life Magazine, have an air of fragility, often glowing with palest pinks and pearly greys. The spinsters sit at perfect Alfred Stieglitz in preparation for an tion of his work. As we noted in an earlier issue, an exhibition of the work if Stieglitz is scheduled for June at the Museum of Modern Art when there will also be shown the paintings by modern's in the famed Stieglitz collection. The exhibition at an American Place (thru May 2) is recent watercolors and oils by John Marin. Apple trees and peach orchads dominate the subject matter in the watercolor room although there are boats and sea arrangements too. The pink of the fruit tree blossoms in these graceful and almost sentimental watercolors carries into the oils in the net room. This effects them very much. Marin's fames strong construction is most less to be seen in his mountain and sea paintings. There is a turbulence and nervousness in the way paint is applied in an expressionist way, warm colors, as we have said, invading the normally cool palette of the landscape painter. This restlessness is felt in the room. It is hard to fasten upon any one painting for long, which was not the case in the oil and watercolor exhibition of 1946, one of the best the artist has had. PAINTINGS BY ALBERT URBAN KLEEMANN 65 EAST 57
