Page 61 - Studio International - June 1969

and often seem coyly apologetic for their pieces in the show. The one in which Nevel- bound to report that I did not see. It was at
smacking fresh appearance and their sophisti- son returns to the humble milk crate as her the DWAN GALLERY, and was the work of
cated packaging. I can just see Mr X, that basic unit, re-engages our interest in the Walter DeMaria. Judging by friends' de-
well-known executive and patron of the arts, veiled image; the secreted form. A system of scriptions, it consisted of large, very shiny beds
picking up a cleverly fashioned hairy thing to moons and half-moons, partially hidden by of steel nails, or spikes, sharpened to the
epater his fellow executives, with a very frontal slabs, is enlivened by the unexpected highest degree. As to why I did not see the
knowing air, a very knowing air.... Perhaps holes in the crate, or a break in the sequence exhibition: In order to enter the gallery, all
the maker of the thing will have the satisfaction of shapes, making a long and careful visitors were obliged to sign an unconditional
of knowing that Mr X is getting precisely scrutiny of the dim black wall an experience release (`I, the undersigned, in consideration
what he deserves, but finally, it will not amount of real dimension. The same is true of an of being permitted to enter Dwan Gallery...')
to a social revolution. enormous and obviously architectural curving which was very elegantly printed but never-
The problem of maintaining quality in objects wall (it has been acquired, I believe, for one theless represented a coercive attitude that I
that are not unique is put into relief when the of the buildings at Lincoln Center) in which find highly repellent. In a country where we
works of Louise Nevelson, recently on view at the lattices and saw-toothed shapes almost are always being asked to sign away our birth-
the PACE GALLERY, are considered. Her various conceal odd formations in the depths of her rights, it does seem ironic that even in the arts
attempts at packaging her genius have always boxed compositions. we cannot circulate freely.
fallen far short of her real talents, which are Another impressive exhibition by a sculptor Among painting exhibitions, which have
for the large ensembles, hand-fashioned. When who still uses wood was the FISCHBACH GAL- been admittedly sparse for several seasons, I
a couple of years ago she began to use formica, LERY'S presentation of new work by George found John Hoyland's at the ELKON GALLERY
and neatly condense her imagery for the Sugarman. He, too, has vastly simplified his to be the most impressive. It is true that
purpose of easy fabrication, I found a diminu- forms, but like Nevelson, he has found a way Hoyland's fusion of recognizable 'school'
tion of quality immediately apparent. Her to sustain his initially romantic feelings about mannerisms is sometimes disheartening. He
work in the Jewish Museum show is not form. He was always attracted to the irregular has apparently been hit far too forcefully by
distinguished when compared with the larger, aspects of organic form, but is now incorporat- the America 'post-painterly abstraction' rhe-
unique works in the Pace Gallery exhibition. ing its more symmetrical functions in his work. toric, and has had difficulty extracting his own
Although these new works are more dependent The major piece in the exhibition, which I imagery. Yet, there were two canvases which I
on the module principle that the wooden regard as his best sculpture to date, is an felt could be dealt with entirely in their own
works of some years back, Nevelson has ellipse of ten curving, independently standing, terms, and of the two, one which I would rate
restored a great deal of vitality to her imagery units. The gracefully bent and curving units as an excellent painting in any terms. This
in working with the irregularities the wood are rhymed, and yet, they seem to offer a latter is a large canvas, bisected by a red bar
offers, and not seeking to smooth everything different image from whatever vantage point which has a curiously activating function in
down to formica slickness. Several new motifs they are viewed. In enclosing the elliptical relation to its two equal neighbouring forms,
are introduced, particularly in a cluster of spaces, Sugarman leaves enough room for the and the blackish ground on which they all sit
boxed compositions that are built out from the eye to wander, and to marvel at the degree of ambiguously. Hoyland's casual paint ap-
wall in considerable depth, and in which she complication such an apparently simple plication is highly effective in making of this
alternates the hermetic box structure with configuration can inspire. relatively simple and familiar spatial division
transparencies. Another exhibition of sculpture, or at least I a complex and unfamiliar experience.
n
There are two very impressive large wall believe it enters under that category, I am DORE ASHTON