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Catalogue and cover design: RAYMOND PERLMAN /
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:iiNTi:A\roiriiitY iiAii<:irii:AN I'iiiKTiNrp A\n kciilp i iikb I!k>7
UNIVERSITY OF ILLINOIS
MAR G 1967
LIBRARY
University of Illinois Press, Urbana, Chicago, and London, 1967
IIINTILUIMHtAirY ilAllilltlCAK I'AINTIKi; AKII KCIILI* I llltK l!H»7
Introduction by Allen S. Weller
nth ex/ubition
College of Fine and Applied Arts, University of Illinois, Urbana
«:«Nli:A\l>«ltilKY AAIKIMCAN PAINTINIp A\» StAlLVTUKK
DAVID DODDS HENRY
President of the University
ALLEN S. WELLER
Dean, College of Fine and Applied Arts
Director, Krannert Art Museum
Ctiairmon, Festivol of Contemporory Arts
JURY OF SELECTION
Allen S. Weller, Choirman
James D. Hogan
James R. Shipley
MUSEUM STAFF
Allen S. Weller, Director
Muriel B. Ctiristison, Associate Director
Deborah A. Jones, Assistant Curator
James O. Sowers, Preporotor
Jane Powell, Secretary
Frieda V. Frillmon, Secretary
H. Dixon Bennett, Assistant
K. E. Finical, W. E. Boles, Custodians
) 1967 by the Board of Trustees of the University of Illinois Library of Congress Catalog Cord No. A48-340
ii:K\o\Yij:iM;A\i:KTS
le College of Fine and Applied Arts and
e Krannert Art Museum are grateful to
ose who have made loans of paintings
id sculpture to this exhibition and
:knowledge the cooperation of the fol-
wing artists, collectors, museums, and
illeries:
r. Samuel M. Adier, New York, N.Y.
nkrum Gollery, Los Angeles, California
rieigh Gallery, San Francisco, California
infer Gallery, Inc., New York, N.Y.
;rkeley Gollery, Son Francisco, California
)lles Gallery, San Francisco, California
race Borgenicht Gallery, Inc., New York,
N.Y.
fkeri Gallery, New York, N.Y.
r. Frank A. Campini, Berkeley, California
:o Castelli Gallery, New York, N.Y.
r. and Mrs. William Coblentz, San
Francisco, California
r. and Mrs. Jordan Cohen, Kansas City,
Missouri
Dmara Gallery, Los Angeles, California
ordier & Ekstrom, Inc., New York, N.Y.
ayton's Gallery 12, Minneapolis,
■ Minnesota
lilexi Gallery, San Francisco, California
iirry Dintenfass, Inc., New York, N.Y.
prsky Gallery, New York, N.Y.
le Downtown Gallery, New York, N.Y.
wan Gallery, New York, N.Y.
ndre Emmerich Gallery, New York, N.Y.
ex Evans Gallery, Los Angeles, California
■ chard Feigen Gallery, Chicago, Illinois;
1 New York, N.Y.
aingarten Galleries, Los Angeles,
California
Mr. and Mrs. Henry Feiwell, Larchmont, N.Y.
Forum Gallery, Inc., New York, N.Y.
Allan Frumkin Gallery, Chicago, Illinois
Allan Frumkin Gallery, New York, N.Y.
Mr. Frank Gallo, Urbana, Illinois
Gilmon Galleries, Chicago, Illinois
Gump's Gallery, San Francisco, California
The Hansen Galleries, Son Francisco,
California
Martha Jackson Gallery, New York, N.Y.
Mr. Philip Johnson, New Canaan,
Connecticut
Mr. and Mrs. Donald M. Jones, San Marino,
California
Krasner Gallery, New York, N.Y.
Kraushoor Galleries, New York, N.Y.
Felix Landau Gallery, Los Angeles,
California
Landau-Alan Gallery, New York, N.Y.
Main Street Galleries, Chicago, Illinois
Royal Marks Gallery, New York, N.Y.
Marlborough-Gerson Gallery, Inc., New
York, N.Y.
Mr. and Mrs. Robert B. Mayer, Winnetka,
Illinois
Midtown Galleries, New York, N.Y.
The Museum of Modern Art, New York,
N.Y.
Tiber de Nagy Gallery, New York, N.Y.
Rolf Nelson Gallery, Los Angeles, California
Lee Nordness Galleries Exhibition Section,
Inc., New York, N.Y.
Oklahoma Art Center, Oklahoma City,
Oklahoma
The Pace Gallery, New York, N.Y.
Herbert Palmer Gallery, Los Angeles,
California
Park Place Gallery, New York, N.Y.
The Betty Parsons Gallery, New York, N.Y,
Mr. and Mrs. David Paul, New York, N.Y.
Roychem Corporation, Redwood Cily,
California
Esther-Robles Gallery, Los Angeles,
California
Mr. and Mrs. Arthur Shapiro, Beverly Hills,
California
Stable Gallery, New York, N.Y.
Staempfli Gallery, New York, N.Y.
Mr. and Mrs. Ralph L. Stephens, Jr., South
Gate, California
Allan Stone Gallery, New York, N.Y.
David Stuart Gollery, Los Angeles,
California
Woddell Gallery, Inc., New York, N.Y.
Howard Wise Gallery, New York, N.Y.
Gordon Woodside Gallery, San Francisco,
California
i»iiim:hasi^ aivaimik
1948
LEONARD BECK
EUGENE BERMAN
RAYMOND BREININ
JOSEPH DE MARTINI
WILLIAM J. GORDON
PHILIP GUSTON
HAZEL JANICKI
KARL KNATHS
JULIAN E. LEVI
LESTER O. SCHWARTZ
1949
CLAUDE BENTLEY
LOUIS BOSA
FRED CONWAY
JOHN HEllKER
CARL HOLTY
RICO LEBRUN
ARTHUR OSVER
FELIX RUVOLO
YVES TANGUY
BRADLEY WALKER TOMLIN
1950
MAX BECKMANN
DEAN ELLIS
FREDERICK S. FRANCK
ROBERT GWATHMEY
HANS HOFMANN
CHARLES RAIN
ABRAHAM RATTNER
HEDDA STERNE
ANTHONY TONEY
1951
WILLIAM BAZIOTES
BYRON BROWNE
ADOLPH GOTTLIEB
CLEVE GRAY
MORRIS KANTOR
LEO MANSO
MATTA
GREGORIO PRESTOPINO
KURT SEIIGMANN
JEAN XCERON
1952
SAMUEL ADLER
TOM BENRIMO
CAROL BLANCHARD
CARLYLE BROWN
WILLIAM CONGDON
WAITER MURCH
RUFINO TAMAYO
1953
ROBERT L. GRIILEY
YNEZ JOHNSTON
GYORGY KEPES
LAWRENCE KUPFERMAN
THEODORE J. ROSZAK
BEN SHAHN
MARGARITA WORTH
1955
RALPH S. DU CASSE
FRANK DUNCAN
LEONARD EDMONDSON
MORRIS GRAVES
MARGO HOFF
ROGER KUNTZ
GEORGE RATKAI
KARL ZERBE
1957
DAVID ARONSON
JACOB EPSTEIN
ELIAS FRIEDENSOHN
JOHN HULTBERG
WOLF KAHN
CARL MORRIS
CHARLES UMLAUF
NICHOLAS VASILIEFF
1959
LAWRENCE CALCAGNO
FRED FARR
JONAH KINIGSTEIN
RICO LEBRUN
ARTHUR OKAMURA
REUBEN TAM
1961
LEONARD BASKIN
CHARLES BURCHFIELD
DAVID PARK
JULIUS SCHMIDT
1963
STUART DAVIS
LOREN MAC IVER
1965
JAMES BROOKS
PAUL JENKINS
ERLE LORAN
SAIVATORE SCARPITTA
saij:s
Many of the works in this
exhibition are for sale. Visitors ore
invited to obtain price information at the
Museum office. The Krannert Art Museum
reserves the right of priority in purchases
mode from the exhibition.
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CURRENT EVENTS
An exhibition which includes over one hun-
dred works produced by as many artists, rang-
ing in age from their early twenties to their
early seventies, covers a lot of ground. We are
looking at the results of a cultural develop-
ment which has occupied two full generations,
and there are voices here which are speaking
in totally different languages. You cannot
expect to find a common basis for all of these
works, and you cannot judge them by a com-
mon standard. To the critic who is inter-
ested in the evolution of style, some of the
contrasts and confrontations which are the
result of chronology are bound to arouse se-
rious problems of definition, analysis, and
evaluation.
The present exhibition includes a far
greater proportion of work by young artists
than by old ones. This in itself is symp-
tomatic of our times and is as it should be.
Those of us who were responsible for the
selection of the works were guided by two
principal considerations. We hoped to include
examples of as many of the major directions
in which American artists are travehng today
as possible, and we tried at all times to be
guided by a sense of quality: that is, we
hoped that each work we selected successfully
accomplished what it set out to do. Of course
there were disappointments, and there may be
certain significant directions which are not
properly represented. The sense of quality is
a very personal thing, and you as a spectator
will undoubtedly criticize the critics as you
make your own evaluations jmd judgments.
Many years ago the German art critic Wil-
helm Finder wrote a perceptive though hardly
definitive little book called Das Problem der
Generation in which he argued that the pre-
cise date of one's birth had a profound in-
fluence on all subsequent developments within
the individual. This is obvious and of course
true, but the implications of Finder's general-
izations have not often been precisely studied
in relation to specific works of art. Perhaps if
we look at the 110 works in this exhibition
chronologically (not by date of execution, but
by artist's birthdate), we shall be able to un-
derstand some of the developments we have
lived through in a way that will give meaning
to forms which by themselves, isolated and
unrelated to others, seem at first inexplicable.
It will also bring us face to face with a cultural
problem which is not often realized by the
very young, but is very much an issue with
many others: the problem of the aging in-
novator. What happens to the artist who finds
himself turning into a contemporary old
master? Once an influence on others, a pace-
setter, an "original," he suddenly finds his
younger contemporaries striking out in totally
different directions, unsympathetic or (worse)
simply not interested in what he has to say. A
few creative spirits seem themselves to be age-
less and to live completely within the terms
of changing times; a few seem not to be both-
ered by changing standards and are able to
work consistently within boundaries they early
established for themselves. But many others
are genuinely disturbed when they find that
they no longer speak a Ijuiguage which is un-
derstood by their younger contemporaries.
This is one reason why the whole field of edu-
cation in the creative arts is in such a difficult
state at the present moment. Artists can learn
in a variety of ways, but whether it is any
longer possible for them to teach remains a
question.
The gap between the generations is one of
many evidences which we see in modem cul-
ture resulting from the disintegration of a con-
tinuing sense of tradition. Up until the period
of World War I a basic and continuous cul-
tural tradition informed almost every aspect
of western civilization. Even developments
which were revolutionary were inevitably "
linked to what had gone before in specific
evolutionary ways. In the field of the fine arts,
an appreciation of craftsmanship provided afl
basis for development, even when everything
else changed. But today, we are more and
more made aware of the fact that the cultural
values of the past have not been transmitted
to young people in the same sense. These
values are probably better known than they '
ever were before (through books, reproduc-
tions, museums), but they remain detached
and unused. It seems more and more impos-
sible to build upon the past, to start at the
point where someone else left off. Many recent
developments seem rootless. Oskar Kokoschka .
speaks of young people today as "entering on
life with empty hands."
The kind of thinking, seemg, and execution
which is evident in works created by artists
who are thirty-five years old or younger is not
like that of artists bom in the 1920's or earlier.
While there are, of course, an enormous num-
ber of different ways of approaching the prob-
lem of creating a valid expression for our
times, it is not impossible to see certain recur-
ring themes and attitudes which reveal them-
selves in different ways.
For one thing, there is a mood of detach-
ment about much recent work. The excite-
ment of the manipulation of the material for
its own sake becomes more and more a mark
of maturity or old age. Precise surfaces and
the use of mechanistic forms and methods are
frequent. There is a sense of calculation, an
avoidance of the attitude that the work almost
formed itself without the artists knowing what
was happening — an attitude frequently ex-
pressed by artists a few years ago. Many of
these young artists know exactly what they
intend to do, and follow a precisely deter-
mined pattern of decisions. There is a substi-
tution of a new kind of discipline for the
reliance on intuition and the accidental which
prevailed until recendy.
This youthful mood of detachment may
find its expression in sharply opposing ways.
On the one hand, it is seen in the intense
concentration of certain artists upon the most
minutely observed details of physical reality,
with apparently entire emphasis on material
forms which are outside of the artist himself,
and a deliberate avoidance of "interpreta-
tion." Often, however, these analytical ob-
servations are unrelated one to another and
deliberately avoid adding up to a cumulative
or unified whole. At the opposite end of the
scale is the kind of detachment which reveals
itself in works which have simply avoided
almost all of the pictorial and spatial problems
which largely determined the formal structure
and content of works of art in the past —
pictures without illusion and without expres-
sion, works which (in the conventional sense)
are deliberately empty and undifferentiated,
lacking individual handwriting. Is this an
escape from the troubling complexities of
actual life, or is it a return to great elemental
basic forms — a sort of visual id? Whatever
the ultimate significance of these opposing
kinds of detachment may be, they cannot be
judged by standards which applied in earlier
cultural situations. The kind of descriptive
figural image in these new works cannot be
measured by norms which were appropriate
to impressionism any more than can the mys-
terious emptiness of other works be measured
by classical standards.
It is not always easy to see what is cause,
what is effect. Is the gulf which exists between
young artists and old artists today the result of
the loss of tradition, or has this loss, this root-
lessness, been itself the reason for discarding
traditional forms and methods? Young artists
may indeed enter on life with empty hands,
but their hands do not remain empty long. If
they no longer grasp the past as the material
out of which to build the present, they grasp
other materials. Two things in particular have
taken the place of tradition in the evolution of
the art of our times. One of these is the artist's
own deepest inherent personality, and he has
sometimes become engrossed in himself as was
seldom done in the past. He has discovered
the universe within and has turned away from
that other universe of which he is himself a
part. The other new emphasis has come from
his preoccupation, his involvement, with that
extension of himself, the man-made products
of an industrial society. The world of nature
retreats as the world of man advances. The
raw material of art today is the hidden inner
spirit of the individual man on the one side,
and the mechanized, industrialized environ-
ment which man has built for himself in the
later twentieth century on the other.
Among the qualities of "young" art are the
following : descriptive realism devoid of judg-
ment, photographic vision, precisianism, the
influence of engineering, interest in actual
physical motion and in actual light, a realiza-
tjon of the significance of emptiness, emphasis
on pure geometric form, the big scale of
simple undifferentiated images, the eradica-
tion of firm boundaries between different art
forms, the avoidance of self-expression and
self-realization, the use of commercial or ad-
vertising imagery. In one way, this last char-
acteristic (which led to pop art) links up
more strongly with some styles of the past,
because it is marked by a kind of enthusiasm
and involvement which is often lacking in the
other qualities which have been enumerated.
These add up to an attitude and a method
which differ at almost every point from the
mature art of the abstract expressionist gener-
ation, which must now adjust itself to a situa-
tion in which it has been turned into a con-
servative older group.
One important element which separates the
generations is the attitude toward and the use
of materials. Painters used to be people who
brushed oil paints on canvas, or who stained
paper with water colors, just as sculptors used
to be people who carved wood or stone, or
modeled clay to be cast in bronze. Traditional
materials and time-honored techniques are
now combined in new ways, or are frequently
abandoned by young artists, who no longer
find them adequate for expressing the forms
and ideas with which they are concerned.
Materials and techniques which were de-
veloped primarily for industrial use have been
redirected into powerful and expressive chan-
nels. Most of these processes were developed
in order to speed up mass production, to re-
duce costs, to do away with laborious long-
term hand methods, or to satisfy a vast con-
sumer market which demands goods of
constantly novel design and of identical
standardized quality. Are these same demands
now determining factors in the production of
works of art? Certainly many young artists
are impatient, unwilling to undergo the long
and laborious kind of training of technical
craftsmanship which was traditionally a signif-
icant part of their education. Individual ex-
pression more and more becomes equated
with swiftness of execution, and it is not only
the expense of such time-honored techniques
as bronze casting and stone carving, but akc
the comparative ease of execution in nevs
materials, which lead the artist joyously to
experiment with every new material and
method offered him. ■
Colors produced for industrial purposes dr\
rapidly without changing their essential char-
acter. Plastic paints and acrylic and vinyl
resins offer many possibilities which were not
available to the painter of the past, such as
impastos which do not crack and a choice be-l
tween mat or glossy surfaces. New plastii
materials like polyethylene, polyvinyl, poly-
ester resin, plexiglas, and fiberglas invite all
sorts of experiments and suggest the increasing
use of polychromy in sculpture. Sculpture is no
longer almost entirely a matter of carving or
modeling or casting: the use of wire screen
ing, of cutting and fitting, of welding, of
assembling, of materials like aluminum, mag-
nesium, and stainless or structural steel, lead
to new forms and new feelings.
Is a two-dimensional rectangular object
made out of metal a piece of sculpture? It
is certainly not a painting. The fact is that the
lines of demarcation between art forms be-
come indistinct. More and more we are un-
able to distinguish between painting and
sculpture, just as every print technique may
now be used in a single plate. Craftsmanship,
which used to be a manual skill, increasingly
becomes an appropriate use of industrial ma-
terials and mechanical methods.
The immaculate metallic planes of Max
Finkelstein, with their startling opposition of
visual surface effects, suggest some of the new
possibilities, just as the animated mechanical
beings of Enrique Castro-Cid seem now like
an inevitable expression of the contemporary
human condition. Is there such a thing as
machine art? The flashing lights of Howard
Jones, controlled by the precision of com-
puter programming, seem to promise that a
whole new field of expression is opening up
for us. Sometimes it is in the form of a precise
but unidentified functional object, as in the
careful constructions of such artists as Richard
Randall, or in the use of utilitarian objects for
expressive purposes, as in the nail composi-
tions of Robert Seyle, that we see new direc-
tions. John Willenbecher's superbly executed
boxes describe inexplicable activities; they
open up into astronomical proportions. John
Freeman's work is more than a triumph of
cabinet-making: it is also a portent, a prod-
igy; it has a strangely prophetic character.
Forms which seem to have been designed for
the most specific kinds of functional activity
mysteriously conceal what that function may
be. The machine becomes an instrument of
contemplation, of allusion, rather than of use.
Three-dimensional primary forms, of aus-
tere geometric design, become increasingly
prominent. These may be complex, like the
work of Lillian Floreheim, fashioned of several
diflfcrent materials, or stripped to boxlike se-
verity, as is the work of Vasa. Certainly there
are new possibilties in the field of truly archi-
tectural design, as Gerald Laing and Craig
Kauffman show us. The big scale and aggres-
sive positivism of Richard Van Buren strike
us as an authoritative proclamation when we
compare it with the shifting, vagrant, impul-
sive, tentative statements of some artists of an
earlier generation, whose works were con-
structed on the trial-and-error principal. The
works of many young artists may indeed be in
error (only time can tell this), but they are
not trials.
The tendency toward impersonality reaches
its climax in the style to which Jules Langs-
ner gave the name of hard-edge painting.
Some artists, like John McLaughlin, expressed
themselves naturally this way many years ago
(he is one of the older artists in the exhibi-
tion ) , but such pioneers were for a long time
largely eclipsed by their contemporaries who
glorified the impetuosity of highly individual-
ized performance. Now such a visual lan-
guage — cool, controlled, direct, avoiding
suggestion and illusion — seems an inevitable
and natural characteristic of a generation
which contains important elements which
have deliberately detached themselves from
an outpouring of personal emotion. Geometric
plans, as in the work of Will Insley and Dean
Fleming, remain completely systematic and
are unrelated to the shifting quality of visual
impressions. On the other hand, that it is not
impossible to apply such a disciplined manner
to recognizable material is demonstrated by
George Mueller, whose architectural themes
suggest a kind of flat symbolic perspective —
a new way of implying, rather than of realiz-
ing, space. The architectural quality of such
work is obvious and understandable. Some-
times it is entirely specific, as in Thomas
Akawie, who develops the actual ground plans
of Medieval and Renaissance buildings into
splendid abstract patterns; sometimes it is
reduced to a kind of engineering drawing, as
in the work of Arakawa, who seems to pre-
sent us with directions for the construction of
monumental structures which conceal their
character. The bold directness of Edwin Ruda
and Kenneth Noland go off in one direction;
the greater surface refinement of Herbert
Bayer in another; and it is understandable
that such an ordered and tightly controlled
style should experiment with startling color
relationships for visual optical stimulation, as
with Miriam Schapiro.
There is a special group of young precision-
ists, who express themselves with immaculate
surfaces and a studied avoidance of impulse
or accident. Everything is calculated, orderly,
almost untouched and untouchable. Much
of the purely geometric work is of thb nature,
as are the vibrating color compositions of the
op artists, but this mode is found in repre-
sentational work as well. Peter Dechar con-
centrates upon the swelling forms of fruits,
removing them from all sense of environment,
taking them out of context, and giving them
an unexpected and startling sense of grand
scale. Lowell Nesbitt observes the sterile forms
of nineteenth-century architecture, and ere
ates disturbingly empty but grandiose images
of structural power. We have seen the archi-
tectural motif handled in the past with
romantic or sociological or purely formal as-
sociations, but we now see it in a new kind of
isolation. Much recent representational work
detaches the objects represented from their ex
pected surroundings, reduces the overtones wc
are accustomed to, and stresses a kind of
stripped purity. Even such a timely militar)
motif as that seen in the work of Sam Rich-
ardson is presented impersonally. Barbro
Ostlihn turns a pattern of geometric cubes
into a monumental structure of great stability
and cumulative effect. That such work may
mark the continuation of long-established tra-
ditions is shown by the still-life composition.'
of Paul Cadmus.
A striking development of the mechanistic
side of recent art is the greater and greater
emphasis upon actual physical movement.
We can no longer think of the work of art ^a-
static, or as suggesting movement by symbolit
images or by relying upon the physical move-
ment of the spectator to bring it to life. Ever
since the mobiles of Alexander Calder an- .
nounced exciting possibilities, artists have in-"
creasingly designed works which actually arc
in motion as the result of natural forces (air
currents, gravity, magnetism), or by motoriza-
tion. A monumental development of the di-
rection started by Calder is seen in the work
of Jerome Kirk; the shifting color films of
Fletcher Benton are completed by continuous
motion; while magnetic and gravitational re-
sources are relied upon by Alberto Collie and
i
Ronald Mallory. Actual light rather than sym-
bolic light, too, becomes an element in recent
design. The flashing compositions of Howard
Jones and Gregorio Vardanega, with seem-
ingly infinite possible combinations, and the
moving color areas of Palatnik are engrossing
ways of handling such materials. The end-
lessly fascinating movement of matter, never
repeating itself, is a prime element; All of
these experiments suggest that a new concept
of realism is now prevalent. We now realize
that cdl so-called realism in the past was sym-
bol, was illusion: many contemporary artists
are unwilling to deal with such intangibles,
and find that they must handle the actual stuff
of physical existence.
The desire to present a complete and self-
contained experience in the individual work
of art has led to a new kind of unity in many
recent works. This is seen in one way by the
exclusion of illusions and associations, and in
another by a very conscious breaking down of
the barriers which separate the various art
forms. Many young artists obviously do not
think of themselves as painters or as sculptors,
but as designers in a total sense. Two- and
three-dimensional design merge. For the first
time since the neoclassic style placed a pall of
whiteness upon pure marble surfaces, and
color variations were excluded from metal
forms, the designer and constructor of three-
dimensional forms thinks naturally in terms
of color. Canvas is no longer a flat plane
clinging to the wall, but it projects into space,
proclaiming the new tangibility of actual ex-
perience. Whether the shaped canvas remains
colorless, as in the work of Herbert George, or
is as fully developed in color as was the tra-
ditional picture plane, as in the geometric
compositions of Charles Hinman, it forces the
spectator into a new kind of relationship with
itself. Actual space relationships, as in recent
works by James Jarvaise, take the place of
the kind of perspective which used to mean
space to us. It is interesting to see such a com-
pletely painter-like artist as Samuel Adler re-
sponding to new impulses, and reexpressing
his personal style in a form of construction
which is as much sculpture as it is painting.
Combinations of metal, wood, and paint bring
surface and shape into new and exciting rela-
tionships, as in the work of Arlo Acton.
Our mechanistic world has affected our
vision profoundly. We no longer see our sur-
roundings, for instance, as our ancestors saw
them before the invention of photography and
the development of all kinds of cheap and
swift methods of reproduction bombarded us
with pictorial images which are quite differ-
ent from those which reach us directly
through our own built-in physical equipment.
While it is not impossible for us to recapture,
to cultivate, the kind of actual vision which
was behind many of the great artistic styles of
the past, it often requires a conscious effort
to do so. The organic perspective vision of the
Renaissance, for instance, is no longer able
to cope with the physical apprehension or the
mental concept of space today, just as it is not
easy or natural for us to see elements of nature
with the kind of vision which the romantic
period possessed. The influence of mechaniza-
tion on art is not simply the result of the in-
vention and the use of new materials, or the
discovery of new worlds of subject matter, but
it has ako affected the artist within himself
in ways which are both physical and psycho-
logical.
An obvious evidence of this is the way in
which many young artists today use the photo-
graph with an honesty and a directness which
has led to certain remarkable results. From
its very origin the photograph had a profound
influence on the so-called "fine arts," but
for a long time it was an influence which was
not really admitted by the artist — it was
something hidden, a secret. After an initial
phase in which certain nineteenth-century
artists attempted to turn themselves into ma-
chines and to rival the camera on its own
terms, the tendency was to use the photograph
as a sort of automatic sketchbook, recording
motifs and materials which the artist then
reworked in his own manner. He generally
attempted (perhaps unconsciously) to dis-
guise this dependence and to preserve a kind
of fiction that nothing had come between him
and the world of nature from which he was
drawing his themes.
But today a great deal has come between
the artist and the world of nature. He sees
this world in terms which are highly self-
conscious, but at the same time he is acutely
aware of a total society. In many cases, he
sees it at second hand rather than as a direct
experience. This is why we see an increasing
number of young artists who present us with
realistic compositions which are obviously
founded on the mechanical vision of the snap-
shot, with its precison of silhouette, its frequent
blurring of interior detail, its arbitrary cutting
off of essential forms at the picture's edge, its
reliance upon tone and value rather than on
color for its quality. The photograph becomes
not something to provide raw material for the
artist, not an aide-memoire, but a dominant
form, a kind of primary vision, which com-
pletely controls the final result.
One characteristic of the photographi(
image, particularly of the product of the new>
photographer or the snapshot of the amateur,
is its sense of arrested motion — the figure in
violent action which has been suddenly frozen.
This is quite a different kind of visual move-
ment from that which impressionism created,
with its merging of form and atmosphere, or
from that which the expressionists developed,
with an almost physical impulse within the
material form of the work itself. It does not
allow the spectator to experience the kind of
empathy which many earlier forms suggested.
But it is the sort of motion-image with which
we are familiar in newspapers and other pop-
ular publications, and has become the stock-
in-trade of much advertising art. Some inter-
esting things have happened to it in the hands
of artists who are exploiting it for larger
purposes than those prevalent in mass com-
munications media.
The petrified snapshot image of movement
can be curiously ambiguous and deceptive.
The combination of precise description and
enigmatic meaning is something which seems
to offer distinct possibilities to younger artists
today. A figure in shadow may be presented
with great exactness, and yet leave us with the
mysterious quality of the silhouette, which
does not tell us whether we are looking at the
front or the back of the basic form. The pho-
tographer generally takes more than one shot
of a single subject, and this accords well with
the tendency so many artists have now of
working in sets, of reexpressing the same
image again and again with certain variations.
It relates, too, to the use of the multiple image
in a single work: not the multiple image in
superimposed evolutionary movement, as it
was long ago seen in futurism, but rather the
successive frames of a motion picture which
has been arrested. No painter has more inter-
estingly exploited the photographic possibil-
ities of contemporary vision than has Robert
Harvey. In design, in composition, in color,
his work is an exacting realization of man
and nature seen through the mechanical lens,
rather than through the eye and mind of the
artist.
A notable characteristic of the kind of
photographic vision which is now encountered
so frequently in American painting is the com-
bination of extremely active forms, which may
even approach violence, with an almost com-
pletely impersonal handling of the medium
itself. The disengagement of the artist is con-
tinually encountered. Where once he ex-
pressed himself, achieved the ultimate in
identification with the creative act by com-
plete involvement with the medium, active
or violent representational themes are now
couched in terms which studiously avoid the
personal handwriting of the artist: surfaces
are smooth and undifferentiated, the brush-
stroke invisible. Photographic vision, which
records coldly and mechanically the most in-
tensely active and personal acts, has a strong
appeal to many artists today. Kendall Shaw's
silhouetted athletes (probably derived from
news photos from the sports pages) are ex-
amples. The fluent outline undulates with
sensitive movement, but the blank surfaces
and completely impersonal handling studi-
ously avoid all expression of a personal in-
volvement of the artist with the theme. One
almost has to go back to certain types of nine-
teenth-century academic painting for parallels,
though the utter avoidance of sentimentality
or romanticism completely separates the two
styles.
Wayne Thiebaud's figures pose stiffly and
self-consciously against an absolutely neutral
background. Direct reliance on the photo-
graph is interestingly handled in Noel Ma-
haffey's painting, in which the actual photos
become an element of collage in the final
work. The painter has not worked from the
living models, but obviously and frankly from
a series of photographs which become them-
selves part of the completed work. He allows
us in this case to see what his process of selec-
tion has been, as he takes an attitude or ges-
ture from one exposure, and combines this
with others from still other films. Is there
some significance in the fact that the creator
of this timely painting is the youngest artist in
the exhibition?
Another notable characteristic of the snap-
shot (particularly when produced by amateur
photographers) is the way in which forms are
suddenly and often unexpectedly cut off by
the edge, sliced through in exactly those areas
which the conventional academic artist of the
past would have taken care to center or to
surround with a "proper" amount of space.
Philip Pearlstein's figures, their heads or
shoulders abruptly and unexpectedly termi-
nated by the frame, are examples. This artist
illustrates still another aspect of photographic
vision: the striking differences in scale be-
tween those parts of the body which are closest
to the lens and those which are farthest
away. Such disparities were generally mini-
mized in conventional figure construction in
the past. Intense observation of detail and
indifference to or actual avoidance of a sense
of total unity are characteristics of many con-
temporary works — and not oiJy in the world
of art.
There are other, and increasing, uses of the
multiple image: the same figure or form in
successive stages of movement, or from alter-
nate points of view. The former is exempli-
fied by Gerald Gooch, the latter by Andy
Warhol. The superimposition of one image
upon another is avoided; instead, we read a
sequence in successive stages. Has not the
comic strip kind of narrative contributed to
this kind of presentation? Gooch shows the
active figure in a sequence of movement, and
cleverly divides one image from another by
actual physical separation. Warhol, in his
"made-to-order" pictures, assembles standard
images with certain individual variations.
Both artists avoid intruding themselves into
the fabrication of their work.
Joe Raffaele's paintings are in many ways
extraordinarily complete expressions of some
of the major qualities and characteristics of
the new kinds of vision. There is intense and
probing observation of fragments: figures are
seen only in imexplained parts rather than a>
wholes. There seems to be no logical relation-
ship between these penetratingly observed de-
tails; not only are they unrelated to each
other in theme and in scale, but they are
placed against a completely neutral back-
ground which denies to them any under-
standable or fixed place in the world of spac(
and time. There is a tense emphasis on phys-
ical pain which often makes the spectator
cringe; there is a strong undercurrent of sexu-
ality in actions and images. There is a perfectly
frank utilization of the kind of mechanized
vision with which the photograph has made
us completely famiUar, and which has ver)'
largely taken the place of direct observation
of nature. There is seemingly little desire for
"self-expression," which for so long was con-
sidered an essential element of artistic cre-
ation. There is a desire to startle and perhaps
to shock the spectator in an immediate and
personal way, but at the same time the artist
conceals himself behind a sort of mechanical
and impersonal glibness.
These are all characteristics which are
painfully evident in the events which are daily
presented to us in the newspaper, the radio,
the TV, and which are particularly evident
in advertising art. We know an enormous
amount about detailed events, and remain
woefully ignorant of the significance behind
them. We feel isolated in the midst of con-
stantly increasing physical contacts. People
become things; pure sensation takes the place
of contemplation or judgment. Of course the
artist is sensitive to these currents in our cul-
ture, and it is inevitable that he should seek
expressive ways of embodying them. There
are qualities in our present situation which
demand a new vocabulary for their expression.
One category of "young" art which has
been most difficult for an older generation to
understand (let alone to accept) is the kind
of work which excludes almost everything
which has been most precious in the past —
not only the exclusion of subject and content,
but also the exclusion of form in its classical
sense of compositions made up of parts one
related to another, as well as apparendy the
exclusion of self-expression in any individual
sense. For at least ten years there has been a
group of artists who have turned away from
the sort of work which we have ordinarily
thought of as self-expression — that is, if we
equate this term with highly individualistic
ways of handling the media, much of it devel-
oped along intuitive lines, utilizing the often
exciting effects of the "happy accident." This
has been an alternative to the abstract expres-
sionism which seemed adequately to express
the mood of artists in the period immediately
following World War II. We have seen, in-
stead of the briUiant, loose handling and
almost unconscious symbolism of the abstract
expressionists, the suppression of modeling, the
elimination of textural variation, the limita-
tion of color contrasts. This is a tendency
which has steadily increased and has drawn
more and more artists into its orbit. It is now
a major element in the art of our times.
We encounter more and more works in
which the entire work is a unit, rather than
an organization of separate units each with its
own character and individuality. Forms ex-
tend throughout the entire composition, often
with the suggestion that they continue on into
surrounding space. Works which involve
only a single form or a single undifferentiated
color are seen increasingly. Some of them are
not without a strange kind of emotional im-
pact, but it becomes increasingly difficult to
define what precise emotion is stimulated.
Whereas abstract expressionist art frequently
seemed obscure because of the highly personal
kind of imagery or symbolism which the artist
used, the obscurity of this more recent devel-
opment is frequently combined with the most
exacting clarity of form. Sharpness of mate-
rial definition and clarity of meaning (or con-
tent) are not necessarily related.
One result of this attitude is that we see an
increasing emphasis on the work of art for
itself, rather than on the artist as a unique
human being. The excitement of process be-
gins to pall; the dictum that art is "becoming"
rather than "being" sudderdy seems a little
old-fashioned. The possibility that art may be
a mirror of the absolute rather than a kind of
therapeutic activity on the part of certain
highly charged individuals is something to be
seriously considered.
What does such art mean? The meaning
lies in the very presence of the work of art,
not in what it suggests or what it symbolizes.
Such catch words as "primary forms," "sys-
temic painting," "minimal art," emerge in
an attempt to establish some kind of category
for such works as have turned away from
the violence, the intensity, the life-within-
the-medium of what may be the final phase
of abstract expressionism. Some critics have
seen in this a return to classicism, though a
classicism which is certainly devoid of historic
overtones.
Two kinds of adverse criticism are fre-
quently launched against such work. It is an
art of "nothingness," we are sometimes told,
and it is an art which denies the kind of
personal and aesthetic self-expression which
for a long time has been considered one of the
great values of art.
There are certainly works being produced
today which seem to many of us devoid of
meaning and which also seem to tell us very
little about their creators. But the hangers-on
of every historic style in times past produced
works which in any true or significant sense
seem to us meaningless, and there were artists
in the past who expressed, not themselves, but
lessons learned by rote from more potent
sources. We must judge every movement by
its successes, not by its failures. And it is by
no means impossible that we are at this stage
seeing the emergence of a kind of aesthetic
thinking which is not only in tune with the
unique conditions of our moment in history,
but also capable of expressions of significance
and truth. I think we must accept the fact
that singleness of purpose and the unity of
imagery (even to the extent of undifferen-
tiated forms, colors, or textures) are not neces-
sarily and always a negation of meaning, an
acceptance of nothingness. The infinite exists
within the single unit as well as within com-
plex proliferations of multiple units.
There is a stripping away of everything
which might be considered extraneous. Such
young painters as Brice Marden and Donald
Kaufman present us with works which in one
sense are devoid of illusion or suggestion,
which every trace of "illustration" has beet
rejected. We see these very much as we se
isolated objects of the natural world. They
negate shape, subject, and form. Sometime
the pure field of color is handled with greater
surface variation, as in the paintings of Jules
Olitski and Vic Smith, but remains a singu-
larly concentrated expression.
The traditionalist, whether he be creator or
spectator, will of course ask how far it is pos-
sible to carry an aesthetic philosophy which
rejects more and more contacts with the ex-
ternal world at the same time that it avoids
the kind of self-realization which for at least a
century has been basic to modem art. When
we encounter works which present us with the
frames of elaborate medieval triptychs con-
taining panels painted in absolutely undifTer-
entiated flat colors, or when we see the work
of artists who are now showing completely
empty frames, we are forced to wonder
whether we are witnessing the end of art as it
has been known in the past. It is quite pos-
sible for works which contain no trace of
obvious symbolism to be themselves symbols,
and it may be that the austere avoidance of
involvement which such works suggest is aii
inevitable expression of some of the character-
istic qualities of our times. The paradox lies
in the fact that while we accept the fact that
we begin once again to concentrate on the
work of art as such, instead of on the imique
personality of the artist as a specific human
being, the work may lose exactly those quali-
ties which have, in the past, made the study of
works of art a life-enhancing occupation.
Where does this leave the kind of painting
which is generally called abstract expression-
ism or action painting? For twenty years this
has been a powerful and pervasive movement
in American art. It has had a profound influ-
ence on art education, and it is possible that it
will find its final fortress in the schools, which
do not easily give up a point of view which has
been basic to educational philosophy for a
generation. The leading artists who pioneered
this effort are now men and women in their
late forties and fifties or early sixties; this is
a style which has reached full maturity and
which is now seen as a generally conservative
element. Not many artists in their thirties,
and till fewer in their twenties, find the ab-
stract expressionist idiom congenial — or at
any rate, they seem unable to use this lan-
guage with the energy and inventiveness of
their older contemporaries. Such artists as
Kenzo Okada, Willem de Kooning, Philip
Guston, William Kienbusch, and Friedel Dzu-
bas are now seen as having a kind of old
masterish aura which sits a bit uneasily on
their shoulders.
But many artists refuse to see man as a
machine, and are unwilling to resign from
humanistic contacts. They continue to be in-
volved with man as a complex physical form
and as the great enduring motif for the ex-
pression of the individual personal problem.
Such painters as Morris Broderson and Ben
Kamahira are, at first glance, deceptively old-
fashioned, with their scrupulous regard for the
external realities of material experience, but
their art turns out to be surprisingly symbolic,
full of ambiguous undefined references, almost
demanding that the individual work be placed
in an actual sequence, opposed to the now
popular policy of complete independence of
the individual work of art. Broderson's paint-
ing is one of a lengthy and ambitious series
which explores and expresses a significant
theme from many difTerent points of view;
in a sense, it is literary, just as was much of
the great church art of the past. Other
humanist artists see the great image in more
fluent terms : the rich illusionism of Jack Le-
vine, the powerful emergence of the figure
from within the medium of Nathan OUveira.
A joyful, healthy, rich mingling of figures and
enveloping nature characterizes the paintings
of Morton Kaisch, and it is reassuring to see
the refinement and control of Isabel Bishop in
a work of singular charm, or the fine simplic-
ity of Fairfield Porter. The expressionistic
tradition, in which the figure is intensified
and enriched but without losing contact with
the motif outside of the artist's own mind, is
powerfully handled by Abraham Rattner and
with boisterous vigor by Lee Savage. John
Paul Jones romantically merges the figure
with a consuming landscape, while Robert
Bechtle hides it in precise shadowy space.
That it is still possible to deal with the theme
with old-time bravura and brilliance is seen
in the recent work of Paul Georges, an aston-
ishing recrudescence.
Surely it is significant that the motif of the
human figure missing from an environment
which implies that it is present emerges in a
time like ours. This is encountered in the most
direct and dramatic way in the work of John
Battenberg, whose extraordinar)' compositions
of military uniforms in poses of vehement ac-
tivity astonish us by their actual emptiness.
Here are garments which are molded into
movement in a highly personal way, but the
individual is not there. More and more we
seem to concentrate upon disembodied action,
rather than upon individual initiative and
realization, or rather than upon personal con-
frontation. Nor it is lacking in significance
that Battenberg's uniforms belong to the
period of World War I and not to the pres-
ent; a haunting and a haunted quality has
brought these remnants of a violent past into
a ghostly kind of energetic but impersonal life.
Harold Tovish also deals with man as a miss-
ing element — a negative form, an impression
of a reality which has vanished.
One result of the space age has been, in
many works, the abandonment of the tradi-
tional sense of gravity as the controlling and
determining factor of composition. The art
of the past was based on the idea that all
forms in space were related in a gravitational
sense to the earth's surface, and proportions
and relationships were developed instinctively
by the artist on this premise. Today we are
no longer earth-bound, and the traditional
pull toward that part of the material universe
we happen to inhabit no longer strikes us as
the only or the inevitable way of ordering the
shapes and the relationships with which the
artist deals. The reaUty of man moving
weightlessly in the infinite space of a universe
which is not only vastly larger than that con-
ceived by mankind in ancient times, but into
which he has himself actually penetrated, h
not been without effect on the artist,
may be an obvious theme in itself, as we see i
Sam Richardson's astronaut lifting off, but ij
will also reveal itself in the figural images
George Cohen, which move in large diagon
directions in opposition to the picture fram(
and to any implication of a stationary horizon,
The motif of the falling man has been develi
oped with symbolic power by Ernest Trovai
often this repeated image moves in circular
arrangements which make it impossible for us
to say that the work has a top or a bottom.
The isolation of realistically descriptive details
torn out of context and floating in a kind of
negative blankness in Joe RafTaele's work are
further examples of a space sense which has
abandoned all traces of formal perspective as
a control. The violently foreshortened figures
of Richard Lytle destroy any sense of the pic-
ture plane. John Hultberg's dramatic dis-
tances sweep into deep but still architectural
space, but seem to detach themselves from a
stable frame.
Not unrelated to this feeling of forms freed
from the controls of classical space and the re-
straints this imposes is the increasing tendency
to avoid the pure rectangle as the almost in-
evitable and invariable shape for a work of
two-dimensional art, or else to swing it around
so that it is seen on a diagonal axis. Diamond
shapes or lozenges acquire a new potency, just
as it no longer seems possible to avoid actual^
physical space relationships in many com^
positions.
The kind of involvement with the smashing
visual images of commerce and advertising
d
I
and mass appeal which, a few years ago, led
to the development of pop art, is no longer as
widespread as it was. The pop artists opened
our eyes to expressive and sjinbolic possibil-
ities in terms whose banality and obviousness
was a part of their power; though, on the
whole, this movement seems to have lost the
forward impulse it once had. But there is still
work coming out of this aspect of the raw
material of art which impresses us with its
authority. Robert Indiana's work has now
reached a stage of almost classic distinction;
no one else has been able to glorify the sign,
the signal, the stencil, to the extent that he
has. The vast billboard details of James
Rosenquist, often frighteningly unrelated one
to another, continue to overwhelm us. Andy
Warhol's mechanical reproductions of familiar
images beat a kind of cumulative tattoo on
our sensibilities and make an effect through
sheer repetition. Here it is the sensibility of
the spectator, not of the creator, which is
brought into play. Such popular images as
fashion models, children's toys, comic strip
figures, appear as sources in works by Ronald
Kitaj, Robert Nelson, and Larry Rivers.
There is a hearty, good-natured, mindless
enthusiasm in the work of Roy Schnackenberg
which makes one feel good. A strange min-
gling of the ordinary and the exotic, the near
and the far, removes the work of Frank Gallo
from any of the obvious categories in which
we are inclined to place it.
Another groups of artists, instead of delving
within their own individual personalities, or
measuring the infinite in one way or another,
or submitting themselves to the restraints of
formal systems, seems to probe into the phys-
ical reality of matter. There is something
organic, even visceral, about some recent
imagery. It penetrates beneath surface ap-
pearances, and reveals a kind of life which is
intense, even though it does not involve the
specific individuality of either the artist or
some animate being separate from him. Some-
times, as in the sculpture of Roger Bolomey,
it is raw nature, unshaped in any overt way,
with which we seem to come to grips — there
is something geological, pre-human, about this
artist's work. Daniel Shapiro creates forms
which are turgid, expanded or inflated by
some organic impulse which works from with-
in out to the surface. Deborah Remington's
precise abstract paintings delicately define
structural, almost evolutionary, kinds of rela-
tionships, while patterns of growth are traced
in the proliferating plastic forms of William
Dubin. Sometimes the eternal renewal of
organic life is suggested by the world-egg
which Louis Schanker confines within archi-
tectural boundaries; sometimes it is expressed
in recognizable anatomical form, as in the
strange figures of Richard Boyce, which com-
bine monumental proportions with intense in-
ternal activity and a curious floating lightness.
What will happen next? The thing that
never ceases to interest us is that we do not
really know. The creation of works of art is
not part of a predetermined plan. It develops
through the unique confrontation of a specific
individual and a particular combination of
events and situations. It is often a surprise.
Whether there are seminal works by young
artists in the present exhibition which may
direct the course of the future only time can
tell. Allen S. Weller
CATALOOIIB
page 136
1
ARLO ACTON
Circle in the Sun
page 144
2
SAMUEL M. ADLER
Construction with 5 Figures
page 84
3
THOMAS F. AKAWiE
Santa Maria del Fiore
page 98
4
ARAKAWA
Bottomless
page 66
5
ROBERT BARNES
Untitled
page 40
6
JOHN N. BATTENBERG
Johnny's First Trip
page 142
7
HERBERT BAYER
Suspended
page 68
8
ROBERT ALAN BECHTLE
French Door
page 162
9
FLETCHER BENTON
Synchronetic C-11
page 75
10
ISABEL BISHOP
Study for Undressing on the Bed
page 64
11
ROGER BOLOMEY
Hoboken*12
page 110
12
RICHARD BOYCE
Proteus Changing I
page 164
13
MORRIS BRODERSON
T.izzie Borden Standing
page 134
14
LOUIS BUNCE
Two Figuration
page 55
15
PAUL CADMUS
Family Group
page 76
16
ENRIQUE CASTRO-CiD
Anthropomorphicals I and II
page 178
17
GEORGE COHEN
Untitled
page 167
18
ALBERTO COLLIE
Spatial Absolute *3
page 183
19
JOSEPH CORNELL
Apollinaris
page 156
20
PETER DECHAR
Pears
page 177
21
WILLEM DE KOONING
Big Blonde
page 79
22
WILLIAM DOLE
Mandate
page 86
23
WILLIAM DUBIN
Tertiumquid
page 159
24
FRIEDEL DZUBAS
Mountainside
page 122
25
MAX FINKELSTEIN
Square Plus 200
page 118
26
DEAN FLEMING
Laser's Edge
page 107
27
LILLIAN FLORSHEIM
Squares on Diagonal with Rods
page 82
28
PETER FORAKIS
Magic Box I
page 163
29
HELEN FRANKENTHALER
Santorini
page 123
30
JOHN FREEMAN
3 Star
page 128
31
FRANK GALLO
Love Object
page 160
32
HERBERT GEORGE
Dance Like A Coiruna
page 44
33
PAUL GEORGES
page 54
page 181
34
page 62 35
36
Self-portrait with Model
GERALD GOOCH
Counter-clockwise
JAMES GRANT
Black-White & Blue
PHILIP GUSTON
Heir
page 111 37
page 106
page 50
38
39
GRACE HARTIGAN
Mistral
ROBERT HARVEY
French Opera Barbershop
(Walker Evans Series)
DUAYNE HATCHETT
Summer Solstice
page 155
40
JOHN HELIKER
Still Life with Sugar Bowl
page 119
41
CHARLES HiNMAN
Red/Black
page 57
42
JOHN HULTBERG
Great Glass Roof
page 46
43
ROBERT INDIANA
Louisiana
page 90
44
WILL INSLEY
Untitled
page 114
45
JAMES JARVAISE
LL*8
page 124
46
PAUL JENKINS
Phenomena Distant Reverberation
page 91
47
HOWARD JONES
Area Two
page 115
48
JOHN PAUL JONES
Sentinel
page 172
49
MORTON KAISH
The Women
page 51
50
BEN KAMIHIRA
Nude
page 130
51
CRAIG KAUFFMAN
Chartreuse-Red
page 174
52
DONALD KAUFMAN
Thatcher and Grand
page 74
53
WILLIAM KIENBUSCH
Winter
page 112
54
JEROME F. KIRK
Big Lotus
page 83
55
MASATOYO KISHI
Opus 66-C-12
page 87
56
R. B. KITAJ
The Nice Old Man and the Pretty Girl
(with Huskies)
page 63
57
GERALD LAING
Slot
page 78
58
JOSEF LEVI
VinumS
page 60
59
JACK LEVINE
The Age of Steel
page 170
60
ALEXANDER LIBERMAN
Colloquy
page 132
61
RICHARD LYTLE «
The Slide
page 100
62
NOEL MAHAFFEY
My Brother with Janis
page 180
63
RONALD MALLORY
Untitled
page 138
64
BRICE MARDEN
Nebraska
page 102
65
JOHN MCLAUGHLIN
*9-1965
page 94
66
JOAN MITCHELL
Untitled
page 139
67
JAMES MONTE
Series Ell
page 152
68
ROBERT MOTHERWELL
Untitled
page 120
69
GEORGE MUELLER
Octagonal Porch
page 72
70
ROBERT A. NELSON
Andrew Jackson with Ray Gun
page 151
71
LOWELL NESBITT
Belle Grove Plantation
page 43
72
KENNETH NOLAND
Opt
page 135
73
KENZO OKADA
Open
page 103
74
JULES OLITSKI
Iron and Powder
page 182
75
NATHAN OLIVEIRA
Standing Man and Window
page 148
76
BARBRO OSTLIHN
Erik's House
page 52
77
ABRAHAM PALATNIK
Sequencia Visual P-53
page 80
78
PHILIP PEARLSTEIN
Model Reclining on Couch
page 176
79
CLAYTON PINKERTON
Hollywood Party
page 154
80
FAIRFIELD PORTER
Elizabeth
page 99
81
HARVEY QUAYTMAN
Mainechance
page 48
82
JOE RAFFAELE
Heads, Bird
page 179
83
RICHARD K. RANDELL
Big Zero
page 92
84
ABRAHAM RATTNER
The Red Carpet
page 166 85 DEBORAH REMINGTON
Canyon
page 126 86 SAM RICHARDSON
Straight Up
page 147 87 LARRY RIVERS
Don't FaU
page 168 88 JAMES ROSENQUIST
Painting for the American Negro
page 71 89 EDWIN RUDA
Blake's Eye II
page 150 90 W. LEE SAVAGE
Automobile
page 171 91 LOUIS SCHANKER
Variation on a Theme
page 59 92 MIRIAM SCHAPIRO
Untitled (Empire)
page 116 93 JULIUS SCHMIDT
Untitled
page 104 94 ROY SCHNACKENBERG
Green Bird on Red Background
page 127 95 ROBERT HARLEY SEYLE
Nail Relief VI
page 95 96 DANIEL SHAPIRO
Peaceful Triptych
page 158
97
KENDALL SHAW
Youth Diving
page 175
98
VIC SMITH
Albatross II
page 70
99
V. DOUGLAS SNOW
Plateau
page 67
100
SUNG WOO CHUN
Mandala Tradition *2
page 140
101
WAYNE THIEBAUD
Two Sitting Figures
page 146
102
HAROLD TOVISH
Passage
page 88
103
ERNEST T. TROVA
Study, Falling Man: 24" Wal
page 108
104
RICHARD VAN BUREN
Zamir
page 47
105
GREGORIO VARDANEGA
Relief Electronique
page 58
106
VASA (VELIZAR MIHICH)
Contact
page 96
107
ANDY WARHOL
Jackie
page 42
108
JOHN WILLENBECHER
Daynight *2
page 131 109
page 143 110
JACK YOUNGERMAN
Springs
NORMAN ZAMMITT
^3807-2
All dimensions are given in inches, height first, width second,
depth third.
Tlic dates in parentheses, following the name of the artist's
gallery, indicate years of previous University of Illinois ex-
hibitions of Contemporary American Painting and Sculpture
in which the artist's work has been included. The location of
such exhibitions presented before 1961 is designated as Uni-
versity of Illinois, Urbana; of those presented since 1961, as
Krannert Art Museum, University of Illinois, Champaign.
The biographical data for the artists represented in this exhibi-
tion has been prepared by Deborah A. Jones, Assistant
Curator, Krannert Art Museum.
1
40
^■^v.f;pi.
BATTENBERG/41
6
JOHN N. BATTENBKRG, Johnny's First Trip,
1966. Cast aluminum, 9f) x 77 x 58. Esther-
Robles Gallery, Los Angeles.
John Battenbcrg was born in Milwaukee, Wis-
consin, in 1931. He has studied at the University
of AVisconsin, Madison, 1949-50; Saint Cloud
State College, Minnesota, where he received his
B.A. degree in 1955; Ruskin School of Drawing
and of Fine Art, Oxford, 1956-57; Michigan
State University, East Lansing, where he received
his M..A.. degree in 1960; and the California Col-
lege of .Arts and Crafts, Oakland, 1963-64. As a
student Mr. Battenberg was the recipient of teach-
ing assistantships from Michigan .State Univer-
sity and the California College of Arts and
Crafts. He has taught at New Mexico Western
College, Silver City, 1962-63; Contra Costa Col-
lege, San Pablo, California, 1964-66, and is
presently teaching at San Jose State College. He
lives in Castro \'alley, California.
Special exhibitions of Mr. Battenberg's work
have been held at the Wustum Museum of Fine
.Arts, Racine, Wisconsin, 1955; Saint Cloud State
College, Minnesota, 1955; Michigan State Uni-
versity, East Lansing, 1960; Temple Gallery,
London, 1961; Contemporaries, Sante Fe, 1963;
Richmond Art Center, California, 1964; Comara
Gallery, Los Angeles, 1965; The Hansen Gal-
leries, San Francisco, 1965.
His work has been included in group exhibi-
tions at the RB.A. Galleries, London, 1956; Brad-
ford City Art Gallery, England, 1957; Joslyn Art
Museum, Omaha, 1958; GAGA Galleries, Boston,
1959; Michigan State University, Kresge Art
Center, East" Lansing, I960; Walker Galleries,
Woodstock Galleries," London, 1960; Milwaukee
Art Center, 1960; The Pennsylvania .Academy of
the Fine .Arts, Philadelphia, 1960; Oklahoma Art
Center, Oklahoma City, 1962; St. Paul's Church,
Peoria, Illinois, 1962; Western Washington State
College, Bellingham, 1964; Kaiser Center, Oak-
land, 1964; Richmond .Art Center, California,
1964, 1966; California State Fair & Exposition
Art Show, Sacramento, 1964-65; San Francisco
Art Institute, 1964; Pacific Northwest Arts and
Crafts Association, Bellevue, Washington, 1965;
Museum West, San Francisco, 1965; Pavilion
Gallery, Newport Beach, California, 1966; San
Fernando State College, Northridge, California,
1966; E. B. Crocker Art Gallery, Sacramento,
1966; The Fine Arts Gallery of San Diego, 1966;
The Hansen Galleries and Western Association
of Art Museums, San Francisco, 1966; Santa .Ana
College, California, 1966; Gordon \Voodside Gal-
lery, Seattle, 1966.
Mr. Battenberg's work is in many collections
in the United States and abroad including those
of Michigan State University, East Lansing;
Leistershire County Council, Leistershire, En-
gland; Saint Cloud State College, Minnesota;
New Mexico Western College, Silver City.
42/wiLLENBECHER
JOHN WILLENBECHER, Daynight #2, Spring
1966. Wood and glass construction, 28x28x5.
Richard Feigen Gallery, New York & Chicago.
John AVillenbecher was born in Macungie,
Pennsylvania, in 1936. He studied at The Mer-
cersburg Academy, Mercersburg, Pennsylvania,
1950-54; Brown University, Providence, Rhode
Island, where he received a B.A. degree, 1958;
and New York University, New York, 1958-61.
He lives in New York, N.Y.
Special exhibitions of Mr. Willenbccher's work
have been held at the Feigen-Herbert Gallery,
New York, 1963; Richard Feigen Gallery, Chi-
cago, 1964; Feigen/Palmer Gallerv, Los Angeles,
1964; Richard Feigen Galler>', New York, 1965,
1966. His work has been included in group exhi-
bitions at the Albright-Knox Art Gallery, Buffalo,
1963; Dwan Gallery, Los Angeles, 1963; Univer-
sity of New Mexico, .Albuquerque, 1964; The
Betty Parsons Gallery, New York, 1964; Whitney
Museum of .American .Art, New York, 1964, 1965;
Rhode Lsland School of Design, Providence, 1964;
Ravinia Park, Highland Park, Illinois, 1965; The
Minneapolis Institute of Arts, 1965; The Byron
Gallery, Leo Castelli Gallery, The Kornblee Gal-
lery, Tibor de Nagy Gallery, New York, 1965;
Larry Aldrich Foundation ^Iuseum, Ridgefield,
Connecticut, 1965; Institute of Contemporary
•Art, Rigelhaupt Gallery, Boston, 1966; Harvard
University, Cambridge, 1966; Stedelijk van
.Abbe-Museum, Eindhoven, Holland, 1966; The
Museum of Fine .Arts, Houston, 1966; Occidental
College, Los Angeles, 1966; Finch College, God-
dard-Riverside Community Center, Grippi &
Waddell, Whitney Museum of .American .Art.
New York, 1966; Larry .Aldrich Foundation Mu-
seum, Ridgefield, Connecticut, 1966.
KENNETH NOLAND, Ojit, 1966. Acrylic on
canvas, 108x60. .\iidic Emmerich Gallery, New
Yorlc. (1965)
Kenneth Nolaud was born in .\shcvillo. North
Carolina, in 1924. He studied at Black Mountain
College, North Carolina, and at the Ossip Zad-
kine School of Sculpture, Paris, 1948-49. He has
taught at the Institute of Contemporary .Arts and
at Catholic Uni\ersity, AVashinglon. DC. He
lives in .South .Shaftshury, N'ermont.
Mr. Nolaud has received awards from the In-
stitute Torcuato di Telia, liuenos Aires, 1961,
and Brandeis University, Waltham, Massachu-
setts, 196.5. Special exhibitions of his work have
been held at the Tibor de Nagy Gallery, New-
York, 1956-38; French & Companv, Inc., New
York, 1959; Galcria deir.Arietc, Milan, 1960;
Bennington College, X'erniont, 1961; .Andre Em-
merich'Gallery, New York, 1961, 1962, 1963,
1965, 1966; Galerie Lawrence, Pari.s, 1961, 1963;
Galerie Neuf\'ille, Paris, 1961; Galerie Schmela,
Dusseldorf, 19()2, 19t)4; Galerie Charles Lienhard,
Zurich, 1962; Kasniin Gallery, Ltd., London,
1963, 1965; The Jewish Museum, New York,
1965; David Mirvish (iallery, Toronto, 1965.
His work has been included in group exhibi-
tions at the Samuel M. Kootz Gallery, Inc.,
New' York, 1954; Whitney Museum of .American
Art, New York, 1957, 1963; The Corcoran Gal-
lery of Art, Washington, DC, 1958, 1963; The
Solomon R. Guggenheim Museuin, New York,
1961; The Jewish Museum, New York, 1962;
World's Fair, Seattle, 1962; Brandeis L'niversity,
Waltham. Mas,sachusetts, 1962; The Art Insti-
tute of Chicago, 1963; Instituto Torcuato di
Telia, Buenos .Aires, 1964; Kunsthalle, Basel,
Switzerland, 1965; Harvard University, Cam-
bridge, 1965; J. L. Hud.son Art Gallery, Detroit,
1965; The Museum of Modern Art, New York,
1965; Rockford .Art .Association, Illinois, 1965;
San Francisco Museum of Art, 1965; The Cleve-
land Museum of .Art, 1966; Larry Aldrich Foun-
dation Museum, Ridgefield, Connecticut, 1966;
The New Brunswick Museum of Art, .Saint John,
1966; David Mirvish CJallery, Toronto, 1966; The
Washington Gallcrv of Modern Art, Washington,
D.C., 1966.
Mr. Noland's work is in the collections of the
Instituto Torcuato di Telia, Buenos .Aires; .Al-
bright-Knox .Art Gallen-, Buffalo; Harvard L"ni-
versity, Cambridge; The Detroit Institute of .Arts;
Michigan State L'nivcrsity, East Lansing; Israel
Museum, Jerusalem; Tate Gallery, London;
Whitney Museum of .American Art, New York;
Brandeis University, \Valtham, Massachusetts;
The Washington Gallery of Modern Art.
noland/
43
44
GlORGiSJ^S
PAUL GEORGES, Selj-portrait with Model
1965. Oil on canvas, 72x51. Allan Fiumkin
Gallery, New \o\k.
Paul Georges was born in Portland, Oregon, in
1923. He studied at the University of Oregon,
Eugene, and with Fernand Leger in France from
1949-52 and later with Hans Hoffman. In 1964
he taught at Dartmouth College, Hanover, New
Hampshire, and lectured at Yale University, New
Haven, Connecticut. He lives in .Sagaponack,
Long Island, New York.
Mr. Georges has received awards from Hall-
mark Cards, Inc., Kansas City, 1961, and The
Pennsylvania .Academy of the Fine Arts, Philadel-
phia, 1964. Special exhibitions of his work have
been held at Reed College, Portland, Oregon,
1948, 1956, 1961; the University of Oregon,
Eugene, 1956; Tibor de Nagy Gallery, New York,
1956; Zabriskic Gallerv, New York, 1959; Great
Jones Galleiy, New Vork, 1960, 1961; Allan
Frumkin Gallerv, Chicago, 1962, 1964; Allan
Frumkin Gallery, New York, 1962, 1964, 1966.
His work has been included in group exhibi-
tions at The .'\rt Institute of Chicago, 1962; Whit-
ney Museum of American Art, New York, 1962,
1964, 1966; Boston University, 1964; The Pennsyl-
vania Academy of the Fine Arts, Philadelphia,
1964; New School for Social Research, New-
York, 1965; University of Texas, .Austin, 1966.
Mr. Gcorges's work is in the collections of the
University of Massachusetts, Amherst; Massachu-
setts Institute of Technology, Cambridge; Hall-
mark Cards, Inc., Kansas City; The Museum of
Modern .Art, New York University, \Vhitney
Museum of .American Art, New York; Reed Col-
lege, Portland, Oregon.
46
/INDIANA
ROBERT INDIANA, Louisiana, 1966. Oil on
canvas, 70x60. Dayton's Gallery 12, Minne-
apolis. (1965)
Robert Indiana was bom in New Castle, Indi-
ana, in 1928. He attended The John Herron Art
Institute, Indianapolis, 1945-46; School of Art,
Munson-Williams-Proctor Institute, Utica, 1947-
48; The School of The Art Institute of Chicago,
1949-53; Skowhegan School of Painting and
Sculpture, Maine, 1953; and The Edinburgh Col-
lege of Art, Scotland, 1953-54. Mr. Indiana lives
in New York, New York.
Special exhibitions of his work have been held
at the Stable Gallery, New York, 1962, 1964,
1966; Institute of Contemporary Art, Boston,
1963-64; Walker Art Center, Minneapolis, 1963;
Rolf Nelson Gallery, Los Angeles, 1965; Galerie
Schmcla, Dusseldorf, 1966; Stedelijk van Abbe-
Museum, Eindhoven, Holland, 1966; Museum
Haus Lange, Krefeld, Germany, 1966; Dayton's
Gallery 12, Minneapolis, 1966; Wurttemberg-
ischer Kunstverein, Stuttgart, 1966.
Mr. Indiana's work has been included in group
exhibitions at the Martha Jackson Gallery, New
York, 1960; Dallas Museum of Contemporary-
Arts, 1961; The Museum of Modern Art, New
York, 1961-63, 1965; San Francisco Mu.seum of
Art, 1961; The Pace Gallery, Boston, 1962; Ga-
lerie Saqqarah, Gstaad, Switzerland, 1962; Dwan
Gallery, Los Angeles, 1962; Sidney Janis Caller)-,
New York, 1962; The Art Institute of Chicago,
1963; The Contemporary Arts Center, Cincin-
nati, 1963; Des Moines Art Center, 1963; Beaver-
brook Art Gallery, Fredericton, New Brunswick,
1963; Tate Gallery, London, 1963, 1964; Graham
Gallery, Samuel M. Kootz Gallery, Inc., New
York, 1963; Centre Culturel Americain, Paris,
1963; Brandeis University, Waltham, Massachu-
setts, 1963; The Washington Gallery of Modern
Art, Washington, D.C.," 1963; Woburn Abbey,
Woburn, Bedfordshire, England, 1963; Haags
Gcmeentemuseum, The Hague, 1964; Whitney
Museum of American Art, New York, 1964, 1965;
World's Fair, New York, 1964; Krannert Art Mu-
seum, LIniversity of Illinois, Champaign, 1965;
University of Nebraska, Lincoln, 1965; Milwaukee
.'\rt Center, 1965; Finch College, New York, 1965;
The Solomon R. Guggenheim Museum, New
\'ork, 1965; The Corco"ian Gallei7 of Art, Wash-
ington, D.C., 1965; The White House, Washing-
ton, D.C., 1965; Worcester Art Museum, Mas-
sachusetts, 1965; Stedelijk Museum, Amsterdam,
1966; Institute of Contemporary Art, Boston,
1966; Stedelijk van Abbe-Museum, Eindhoven,
Holland, 1966; Herron Museum of Art, Indi-
anapolis, 1966; The Pennsylvania Academy of
the Fine Arts, Phildclphia, 1966; University of
Pennsylvania, Philadelphia, 1966.
Mr. Indiana's work is in the collections of the
Stedelijk Museum, Amsterdam; University of
Michigan, Ann Arbor; The Baltimore Museum
of Art"; Albright-Knox Art Gallery, BufTalo; The
Detroit Institute of Arts; Stedelijk van Abbe-
Museum, Eindhoven, Holland; Kaiser Wilhelm
Museum, Krefeld, Germany; University of Ne-
braska, Lincoln; Los Angeles County ^4oseum
of Art; Walker Art Center, Minneapolis; Finch
College, The Museum of Modern Art, Whitney
Museum of American Art, New York; Larry
Aldrich Foundation Museum, Ridgefield, Con-
necticut; The Art Gallery of Toronto; Brandeis
University, Waltham, Massachusetts.
VARDANEGA/47
73 f^
i^jisr^i
GREGORIO N'ARDANEGA, Relie] Electro-
niquc, 1964-65. Electronic, 23'/3 x 26'/4. Howard
AVise Gallery, New York.
Gregorio Vardanega was born in Venice, Italy,
in 1923. He studied at the Acadcmia .'\rgcntina
dc Bellas Artes, Buenos .Aires. Mr. \'ardancga
lives in Paris, France.
His work has been included in group exhibi-
tions at the Salon de I'Ameriquc Latine a Paris,
1948-49; Galerie Colette Allcndy, Salon Pcuscr,
Paris, 1950; Galerie Kraft, Galerie Kravd, Paris,
1953; Galerie Gath & Chaves, Paris, 1954; CJa-
Icrie Galatea, Paris, 1955, 1957; Galerie Muller,
Paris, 1955; Galerie Estimulo de Bellas .'\rtcs,
Buenos Aires, 1956, 1958; Galerie Van Riel,
Paris, 1956; Jardin Botanique de Buenos Aires,
1957; Museu dc .\rte Moderna de Sao Paulo,
Brazil, 1957; \V'orld"s Fair, Brussels, 1958; Galerie
H, Buenos .Aires, 1958; in Paris, 1959; at the Ga-
lerie Denise Rene, Paris, 1961, 1963, 1965; Musce
de Rennes, France, 1961; Galerie d'Art Modernc
de Basel, .Switzerland, 1962; Stadtishes Museum,
Leverkusen, Germany, 1962; Galerie Creuze,
Paris, 1962; Musec dWrte Modcrne, Paris, 1962,
1963, 1964; Galerie Hyblcr, Copenhagen, 1963;
in Dusseldorf, Germany, 1963, 1965; at the Ga-
lerie Cadario, Milan, 1963; in Venice, Italy, 1963;
at the Moderna Galerija, Zagreb, Yugoslavia,
1963; Gimpel & Hanover Galerie, Zurich, 1964;
Staatliche Kunsthalle, Baden-Baden, Germany,
1965; in Berne, Switzerland, 1965; Brussels, Bel-
gium, 1965; at the .Albright-Knox Art Gallery,
Buffalo, 1965; The Museum of Modern Art, New
York, 1965; Salon d'.Automne, Grand Palais,
Paris, 1965; Galerie Blcue, Stockholm, 1965;
Maison de la Culture de Caen, France, 1966.
Mr. N'ardanega's work is represented in numer-
ous public and private collections.
48 RAfFAELE
iui
mix
JOE RAFFAELE, Heads, Bird, 1966. Oil on
canvas, 76x50. Stable Gallery, New York.
"My work is primarily about the things pic-
tured in it. Their description is objective and
their presence detached. They are homeless, yet
independent and self-contained. Before anything
else, they are what they are. If nostalgia is
stirred within the viewer, it will have more to do
with the viewer than with the images them-
selves." (Courtesy of Art in America, Vol. LIV,
No. 4, 1966, p. 34.)
Joe Raffaele was born in Brooklyn, New York,
in 1933. He attended The Cooper Union School
of Art and Architecture, New York, 1951-54, and
Yale University, New Haven, Connecticut, where
he received liis B.F.A. degree in 1955. Mr.
RafTacle was awarded a scholarship to the Yale
Summer School of Music and Art, Norfolk, Con-
necticut, 1954; a Fulbright Fellowship to study
in Florence and Rome, 1958; and a Louis Com-
fort Tiffany Foundation scholarship, 1961. He
lives in New York, New York.
Special exhibitions of Mr. Raffaele's work have
been held at the Kanegis Gallery, Boston, 1958;
Galleria Numero, Florence, 1959; D'Arcy Gal-
lery, New York, 1963; and the Stable Gallery,
New York, 1965, 1966. His work has been in-
cluded in group exhibitions at The Art Listitute
of Chicago, 1965; Agricultural and Technical
College of North Carolina, Greensboro, 1966;
Yale L'niversity, New Haven, Connecticut, 1966;
The Museum of Modern Art, The Solomon R.
Guggenheim Museum, New York, 1966; Univer-
sity of Pennsylvania, Philadelphia, 1966; Larry
Aldrich Foundation Museum, Ridgefield, Con-
necticut, 1966; The Corcoran Gallery of Art,
Washington, D.C., 1966.
49
50 HATCHETT
7^ c<d J>'V-
DUAYNE HATCHETT, Summer Solstice, 1966.
Aluminum, 58'/i x 30 x 1 12. Royal Marks Gal-
lery, New York.
"My concern in sculpture has been to control
idea and mass in a form involving the observer
as a participant by reflecting man's idea devel-
opments. Areas of the unknown today are fron-
tiers symbolized by programmed machines and
orbiting hardware.
"The artist in our past could reflect his time
in a more objective manner with emphasis on
the strength of the individual. Today sculpture
is very time and environment conscious with
masses which not only displace a given area of
space, but involve the observer with his own
emotions."
Duayne Hatchett was born in Shawnee, Okla-
homa, in 1925. He studied at the University of
Missouri, Columbia, 1944-45, and at the Univer-
sitv of Oklahoma, Norman, where re received his
B.F.A. degree, 1950, and his M.F.A. degree, 1952.
He has taught at the University of Oklahoma,
Norman, 1949-50; Oklahoma City Universitv,
1951-54; University of Tulsa, 1954-64; The Ohio
State University, Columbus, 1964-65. Mr. Hat-
chett lives in Columbus, Ohio.
In 1963 and 1964 special exhibitions of Mr.
Hatchett's work were held at the Bryson Gallery,
Columbus, Ohio; Calhoun Galleries, Dallas; Uni-
versity of Oklahoma, Norman; Oklahoma Art
Center, Oklahoma City; Oklahoma State Univer-
sity, Stillwater; Philbrook Art Center, Tulsa; and
at the Royal Marks Gallery, New York, 1966.
From 1963 to 1965 Mr. Hatchett's work has been
included in group exhibitions at the Phillips
Academy of .American Art, Andover, Massachu-
setts; Dallas Museum of Contemporary .Xrts;
Dallas Museum of Fine Arts; The .Arkansas .Arts
Center, Little Rock; Royal Marks Gallery, and
the World's Fair, New York.
Mr. Hatchett's work is in the collections of the
Phillips Academy of American Art, .Andover,
Massachu.setts; Dallas Museum of Contemporary
.Arts; University of Oklahoma, Norman; Okla-
homa Art Center, Oklahoma Fair Board, Okla-
homa City; Larry Aldrich Foundation Museum,
Ridgefield, Connecticut. His architectural com-
missions include works for Northeastern State
College Library, Alva, Oklahoma; Trader's Na-
tional Bank, Kansas City, Missouri; Mr. Truitt
Coston, Oklahoma City; Dr. Yale Andlcman,
Boston .Avenue Methodist Church, Couch Pre-
scription Shop, First National Bank, Mr. Charles
Goodall, Mr. Murray McCune, Tulsa Fire De-
partment Headquarters, Tulsa.
KAMIHI
RAJ
51
BEN KAMIHIRA, Nude, 1966. Oil on ranvas,
42 X 42. Forum Gallery, Inc., New York.
Ben Kaniihira was born in Yakima, Washing-
ton, in 1925. He studied at the .Art Institute of
Pittsburgh and at The Pennsylvania ."Vcademy of
the Fine Arts, Philadelphia. Mr. Kamihira was
the recipient of a Cresson Traveling Fellowship,
1951; J. Henry Scheidt Traveling Scholarship,
1952; and a Louis Comfort Tiffany Foundation
scholarship. He has taught at Pennsylvania State
University, 1954; the Philadelphia Museum of
Art; and The Pennsylvania Academy of the Fine
Arts from 1953 to the present. He lives in
Philadelphia, Pennsylvania.
Mr. Kamihira has received awards from the
National .Academy of Design, New York, 1952,
1958, 1962; The Pennsylvania Academv of the
Fine Art.s, Philadelphia, 1958; Wilkie-Buick Re-
gional Exhibition, 1960; Silverminc Guild of
Artists, New Canaan, Connecticut, 1961; The
C'.orcoran Gallery of .Art. \\'ashington, D.C., 1961:
Chautauqua Exhibition, Chautauqua, New York,
1962; The Art Institute of Chicago, 1964; Na-
tional Institute of .Arts and Letters, New York,
1965. Special exhibitions of his work have been
held at The Philadelphia Art Alliance, 1954; The
Pennsylvania .Academy of the Fine Arts, Phila-
delphia, 1956, 1965; Janet Ne.ssler Gallcrv, New
York, 1962; Durlacher Brothers, New York, 19(i4;
Forum Gallery, Inc., New York, 1966.
Mr. Kamihiras work has been included in
group exhibitions at The Art Institute of Cihicago;
The Museum of Modern .Art, National .Academy
of Design, Whitney Museum of .American .Art,
New York; The Pennsylvania Academy of the
Fine Arts, Philadelphia; Museum of .Art, Carnegie
Institute, Pittsburgh; Butler Institute of American
-Art, Youngstown. His work is in the collections
of the Colorado Springs Fine Arts Center; Dallas
Museum of Fine .Arts; AVhitney Museum of
.American Art, New A'ork; The Pennsylvania
.Academy of the Fine Arts, Philadelphia; John
and Mabie Riiigling Museum of .Art, Sarasota.
52
/PALATNIK
ABRAHAM PALATNIK, Sequenda Vinial P-
53, 1965. Lightbox, sequence 7'15", 44x29.
Howard Wise Galler)', New York.
Abraham Palatnik was born in Natal, Brazil,
in 1928. He studied art in Israel and Brazil. He
has also spent a considerable amount of time
designing industrial machinery and control sys-
tems. Mr. Palatnik lives in Rio de Janeiro, Brazil.
For his first "cinechromatic" work Mr. Palat-
nik received an award from the Museu de Arte
Moderna de Sao Paulo, Brazil. Since 1960 six
special exhibitions of his work have been held,
and his work has been in many group exhibitions
including those at the Galerie IDenise Rene, Paris,
1964; Studio F, Ulm, Germany, 1964; Venice
Biennale d'arte, 1964; Institute of Contemporary
Art, Boston, 1965; Royal College of Art, London,
1965; Salon Comparison, Paris, 1965; Museo
de I'Arte Moderna, Buenos .-Mres, 1966^ Con-
temporary Arts Association, Houston, 1966.
His work is in the collection of the Museum of
Image and Sound, Rio de Janeiro.
53
54
/gooch
GERALD GOOCH, Counter-clockwise, 1966.
Lithograph and oil on plexiglas, 31 x 43. Arleigh
Gallery, San Francisco.
"There is no one answer to my work, for I
work consciously and unconsciously with dif-
ferent ends in mind. For me to discuss what is
happening in my work would destroy my goal
as an artist. Each person should be able to find
something in the work for himself. Hopefully
each viewer will see a story or an entire new
thing by projecting his imagination into the
work."
Gerald Gooch was born in West Virginia in
1932. He studied at the California College of
Arts and Crafts, Oakland, 1962-66. He lives in
Oakland, California.
Special exhibitions of his work have been held
at the Derby Street Gallery, Berkeley, 1965; Uni-
versity of Colorado, Colorado Springs, 1965;
.•\rleigh Gallery, San Francisco, 1966. His work
has been included in group exhibitions at The
Pasadena Art Museum, 1964; Richmond Art
Center, California, 1966; E. B. Crocker Art Gal-
lery, Sacramento, 1966; San Francisco Art Insti-
tute, 1966; San Francisco Museum of Art, 1966.
Mr. Gooch"s work is in the collections of Mrs.
Edgar Sinton, Hills Borough, California; Time,
Inc., New York; The Pasadena .'Vrt Museum; Mr.
John Carmack, San Francisco.
CADMUSJ 55
J n -h
PAUL CADMUS, Fa/niVy Group, 1964. Tempera
on paper, 14% x 19%. Midtown Galleries, New
York. (1950)
Paul Cadmus was born in New York, New
York, in 1904. He studied at the National
.■\rademy of Design, New York, with William
.■\uerbach-Le\ y and later at the Art Students
League of New York with Joseph Pennell and
C. W. Locke. In 1961 Mr. Cadmus was the re-
cipient of a grant from the American Academy
of Arts and Letters. He lives in New York, N.Y.
Mr. Cadmus has received many awards, and
a number of special exhibitions of his work have
been held. His work has been represented in
group exhibitions at the Whitney Museum of
American Art, New York, 1934, 1936, 1937,
1938, 1940, 1941, 1945; The Brooklyn Mu.seum,
1935; The .Art Institute of Chicago, 1935; Society
of .American Graphic Artists, Inc., New York,
1938; The Pennsylvania Academy of the Fine
Arts, Philadelphia, 1941; The Museum of
Modern Art, New York, 1942, 1943, 1944; Mu-
seum of Art, Carnegie Institute, Pittsburgh, 1944,
1945; and many others.
Paul Cadmus' work is in many public collec-
tions including the Addison Gallery of Ameri-
can Art, Andover, Massachusetts; Cranbrook
Academy of Art, Bloomfield Hills, Michigan;
University of North Carolina, Chapel Hill; The
Art Institute of Chicago; Wadsworth Atheneum,
Hartford; University of Nebraska, Lincoln; Mil-
waukee Art Center; The Brooklyn Museum, The
Metropolitan Museum of Art, The New York
Public Library, Whitney Museum of American
Art, New York; American Embassy, Ottawa;
Four Arts Club, Palm Beach; Seattle Art Mu-
seum; Sweet Briar College, Virginia; The Shel-
don Swope Art Gallery, Terre Haute, Indiana;
Library of Congress, \Vashington, D.C.; Williams
College, Williamstown, Massachusetts; and in
many private collections.
56
hultberg/
57
JOHN HULTBERG, Great Glass Roof, 1965.
Oil on canvas, 36 x 48. Martha Jackson Gallery,
New York. (1957, 1959, 1961)
". . . Why do v\e strive to communicate by
searching for the bizarre and trivial, instead of
aiming for the center, for the melodies which are
waiting for us to invent? AVe look at art as we
look at science, noising about each extravagance
as progress toward a desired though unknown
goal; yet these novelties never quench our ennui.
"If my painting appears repetitive, lacking in
inventive variations or wide connotations, perhaps
this is because I want some kind of icon-like sta-
bility instead. As the plague of despair and dis-
honor spreads I find it necessaiy to retrench
instead of seeking new escapes. Standing in the
midst of this sickness I hold on to painting. It's
too late to expect solace from the conceits of the
surrealists or the laboratory work of the abstrac-
tionists. In this grim time of transition, when we
are balanced between destruction and hope, we
deserve that which can comfort and warm us,
make us whole again. I want to gather together
those scattered insights that modern art has un-
covered and burn them in an eclectic bonfire in
this frozen desert. In these somber embers per-
haps I may be allowed to glimpse once more the
poetry- and romance I felt as a child. Now that
the values of the outside world have become
meaningless for me I rejoice that I find in paint-
ing a way to create my own earth."
John Hultberg was born in Berkeley, California,
in 1922. He attended Fresno State College, where
he received his B.A. degree in 1943, and the Art
Students League of New York, 1949-51. He was
the recipient of an Albert Bender Fellowship,
1949, and a John Simon Guggenheim Memorial
Foundation fellowship, 1956. He has taught at
the Art Students League of New York; University
of Portland, Oregon; San Francisco Art Institute;
and he presently is teaching at the LIniversity of
Hawaii, Honolulu. He lives in Honolulu, Hawaii.
Mr. Hultberg has been awarded the San Fran-
cisco Annual Watercolor Prize, 1947; an Honor-
able Mention in the Los .Angeles Centennial
Exhibition, 1949; First Prize in the Corcoran
Biennial, 1955; and the Norman Harris Medal
from The .Xrt Institute of Chicago, 1962. Special
exhibitions of his work have been held at the
Contemporary Gallery, Sausalito, 1949; Korman
Gallery, New York, 1953; Martha Jackson Gal-
lery, New York, 1955, 1956, 1959, 1960; I.C.A.
Gallery, London, 1956; The Swetzoff Gallery,
Boston, 1957; Galerie du Dragon, Paris, 1957,
1959; Galerie Rive Droite, Paris, 1957; Phoenix
Art Museum, 1957, 1960; Gallcria Numero,
Florence, 1958; The Corcoran Gallery of Art,
Washington, D.C., 1958; Main Street Galleries,
Chicago, 1959; Galleria deU'Arictc, Milan, 1959;
Fairweather-Hardin Gallery, Chicago, 1960; The
Philadelphia Art Alliance, 1960; Piccadilly Gal-
lery, London, 1961, 1965; Malmo Museum,
Sweden, 1962; The Pasadena .Art Museum, 1962;
Esther Bear Gallery, Santa Barbara, 1962;
Franklin Siden Gallery, Detroit, 1964; Esther-
Robles Gallery, Los Angeles, 1964; La Galerie
.Alice Pauli, Lausanne, 1965.
His work has been included in group exhibi-
tions at Phillips Academy of American .Art,
Andover, Massachusetts, 1947-48; Reed College,
Portland, Oregon, 1947-48; California Palace of
the Legion of Honor, San Francisco, 1947-48;
Museum of Modern Art Penthouse, New York,
1952; Galerie Rive Droite, Paris, 1954; The
Corcoran Gallery of Art, Washington, D.C., 1955;
Whitney Museum of American Art, New York,
1955, 1965; Museum of Art, Carnegie Institute,
Pittsburgh, 1955; Venice Biennale d'arte, 1956;
The Museum of Modem Art, New York, 1959;
International Festival of Art, Turin, 1959; New
School for Social Research, New York, 1961,
1966; The Art Institute of Chicago, 1962; Martha
Jackson Gallery, New York, 196.3; Salon de Mai,
Paris, 1964; Museo Civico, Bologna, 1965; Finch
College, New York, 1965; Harpur College, Bing-
hamton, New York, 1966; The Arkansas Arts
Center, Little Rock, 1966.
Mr. Hultberg's work is in the collections of the
Atlanta Art Association; The Baltimore Museum
of Art; Mr. J. B. Urvater, Brussels; Albright-Knox
.Art Gallery, Buffalo; The Hon. Claire Booth
Luce, Dr. and Mrs. Milton Mendelwitz, The
Metropolitan Museum of .Art, The Museum of
Modern .Art, Mr. and Mrs. Roy Neuberger, The
Hon. Nelson A. Rockefeller, New ^■ork; Chrysler
Art Museum of Provincetown; Mr. F. H. Lirhten-
stein, San .Antonio; Moderna Museet, Stockholm;
Joseph H. Hirshhorn Collection, Mr. and Mrs.
Paul Rankine, Washington, D.C.
58/vASA
VASA, Contact, 1966. Acrylic lacquer on wood,
42x22x9'/2. Herbert Palmer Gallery, Los An-
geles.
"For me painting and sculpture are combined.
Shades and shadows are not important. I am
achieving plasticity and illusion of form by
painting.
"I am working with mechanically applied in-
dustrial finishes, because no classical medium can
give me the fine surface. Through this process I
am eliminating the presence of the artist in his
work, leaving only the idea and the concept to
be experienced by the observer without other
distractions." (Courtesy of Art in America, Vol.
LIV, No. 4, 1966, p. 61.)
"Beginning with the flat two-dimensional sur-
face of the conventional hard-edge painting, I
extended and projected the forms, as delineated
by the colors, into three-dimensional construc-
tions. At first these constructions were pure box
forms. Later they became more complex. In
contrast to ordinary sculpture however, shade
and shadows were not important. In these three-
dimensional works I succeeded in achieving the
illusion of several pieces in one by painting and
contrasting forms on the surfaces.
"I am now seeking to liberate the various in-
dividual sections of color from the common flat
surface of the painting and the surfaces of my
three-dimensional constructions. Lifting these
colors into space and exposing them to the light
in different angles introduces a new dimension in
my work. Projected thus into space and freed
from their unchanging environmental limitations,
these colors acquire new values which suggest, if
not dictate, the angles and the dimensions of the
basic forms which carry them. The forms, in
turn, vary the values and intensities of the colors."
Vasa (Velizar Mihich) was born in Yugoslavia
in 1933. From 1947 to 1951 he studied" at the
LIniversity of Belgrade; and from 1951 to 1954
at the School of Applied Arts, Belgrade. He has
taught at the University of Belgrade, 1955-60.
He lives in Los Angeles, California.
.Special exhibitions of Mr. Vasa's work have
been held at the Salon of Graphic Arts, Belgrade,
1956, 1959; and at the Feigen/Palmer Gallery,
Los Angeles, 1966. His work has been included
in group exibitions at La Jolla Museum of Art,
1966; San Francisco Museum of Art, 1966; and
the University of Arizona, Tucson, 1967.
Mr. Vasa's work is in the collections of Mr.
and Mrs. Walter A. Netsch, Jr., Chicago; Mrs.
Dolly Bright Capen, Mr. and Mrs. Terry De-
Lapp, Mr. and Mrs. Jeff^rey Hayden, Mr. and
Mrs. Melvin J. Hirsh, Los Angeles; The Pasa-
dena Art Museum, Mr. and Mrs. Robert A.
Rowan, Pasadena; Larry Aldrich Foundation
Museum, Ridgeficid, Connecticut.
MIRIAM SCHAPIRO, Untitled (Empire),
1965. Oil on canvas, 81 x 90. Andre Emmerich
Galler>', New York. (1961, 1965)
Miriam Schapiro was born in Toronto, Can-
ada, in 1929. She attended Hunter College, New
^■o^k, from 1942 to 1944, and The University of
Iowa, Iowa City, where she received B.A., M.A.,
and M.F.A. degrees, 1944-49. In 1964 Miss
Schapiro was awarded a Tamarind Fellowship.
She lives in New York, New York.
.Special exhibitions of Miss Schapiro's work
have been held at the University of Missouri,
Columbia, 1950; Illinois VVcsleyan University,
Bloomington, 1951; .'\ndre Emmerich Gallery,
New York, 1958, 1960, 1961, 1963; Franklin
Siden Gallery, Detroit, 1966.
Her work has been included in group exhibi-
tions at The Brooklyn Museum, 1947; Indiana
University, Bloomington, 1948; The Denver .Art
Museum, 1948; City Art Museum of St. Louis,
1950; San Francisco An Association, 1950;
Stephens College, Columbia, Missouri, 1951; the
Stable Gallery^ New York, 1952, 1953, 1954,
1955; Tanager Gallery, New York, 1952, 1953,
1954, 1955, 1957, 1958, 1962; Flint Institute of
Arts, Michigan, 1954, 1966; University of Florida,
Gainesville, 1955; The Museum of Slodern .Art,
New York, 1955, 1962, 1963, 1964, 1965; Poin-
dexter Gallery, New York, 1956; The University
of Iowa, Iowa City, 1957; Nottingham Univcrsitv,
England, 1958; Museum of .Art, Carnegie Insti-
tute, Pittsburgh, 1958; Whitney Museum of
.American .Art, New York, 1959; in Tokyo, Japan,
1959; at Rensselaer Polytechnic Institute, Troy,
New York, 1959; Brooks Memorial .Art Gallery,
Memphis, 1960; University of Illinois, Cham-
paign-Urbana, 1961, 1965; The .Art Institute of
Chicago, 1961, 1962; Contemporary^ Arts .Associa-
tion, Houston, 1963; The Jewish Museum, New
York, 1963; The Pennsylvania .Academy of the
Fine Arts, Philadelphia, 1963, 1964; Brandeis Uni-
versity, Waltham, Ma.ssachusetts, 1964; Cran-
brook .Academy of .Art, Bloomfield Hills, Michi-
gan, 1966.
Miss Schapiro's work is in the collections of
.Albion College, .Albion, Michigan; Illinois Wes-
leyan University, Bloomington; Mr. and Mrs.
William Easton, Chicago; Stephens College,
Columbia, Missouri; Dr. and Mrs. Fred Olson,
Guilford, Connecticut; Mr. and Mrs. Harry
Bradley, Milwaukee; Dr. and Mrs. Leon .Altman,
Dr. and Mrs. Bernard Brodsky, Mr. and Mrs.
Leo Castelli, Mr. and Mrs. Arthur .A. Cohen,
Mme. Lily Dache, Mr. and Mrs. Irwin Glusker,
Mr. and Mrs. Ben Heller, Mr. and Mrs. Sam
Hunter, Dr. and Mrs. Ernest Kafka, Mr. and Mrs.
Harry Kahn, Dr. and Mrs. Leonard Kornblee,
Mr. and Mrs. Robert Kulicke, Mr. and Mrs.
.Albert List, Mr. and Mrs. Robert Motherwell,
The Museum of Modern .Art, New York Univer-
sity, Mrs. Sphy Regensburg, Mr. and Mrs. David
Rockefeller, Mr. and Mrs. Joseph Shulof, Mr.
and Mrs. Howard Sloan, Mr. Ben Starkie, Mr.
and Mrs. Allan Stone, Mrs. Barbara Sulzberger,
Mr. and Mrs. Eugene Thaw, Mrs. Chauncey
Waddell, Mr. and Mrs. Guy A. Weill, Mrs. Bertha
Weiss, New York; City .Art Museum of St. Louis;
Tougallo Southern Christian College, Tougallo,
Mississippi; Joseph H. Hirshhorn Collection,
Washington, D.C.
SCHAPIRO/59
d 7SV, 7 s
rm
60
levine/
61
JACK LEVINE, The Age of Steel, 1966. Oil on
canvas, 72 x 63. Landau-Alan GaIIcr>', New York.
(1948, 1949, 1950, 1951, 1953, 1955, 1957, 1961,
1963)
Jack Levine was born in Boston, Massachusetts,
in 1915. He studied privately with Dcnman Ross
of Harvard University and with Harold Zim-
merman. He received a John Simon Guggen-
heim Memorial Foundation fellowship, 1946-47;
a grant from the American Academy of .■Xrts and
Letters, New York, 1946; a Fulbright Fellowship,
1950; and an honorary Doctor of Fine Arts de-
gree, awarded by Colby College, Waterville,
Maine, 1956. He has taught privately at The
School of The Art Institute of Chicago and at
the Skowhegan School of Painting and Sculp-
ture, Maine. Since 1942 he has lived in New-
York City.
Mr. Levine has received awards from Museum
of Art, Carnegie Institute, Pittsburgh, 1946; The
Corcoran Gallery of Art, Washington, D.C., 1947,
1959; The Pennsylvania Academy of the Fine
Arts, Philadephia, 1948.
Special exhibitions of Mr. Levine's work have
been held at The Downtown Gallery, New York,
1938, 1939, 1951; Institute of Contemporary Art,
Boston, 1953; The Alan Gallery, New York,
1953, 1957, 1960, 1965; Whitney Mu.seum of
American Art, New York, 1955; Palacio de
Bellas Artes, Mexico City, 1960.
His work has been included in many grouj)
exhibitions and is found in the collections of the
Addison Gallery of American Art, Andover,
Massachusetts; Museum of Fine Arts, Boston;
Harvard University, Cambridge; The Art Insti-
tute of Chicago; University of Kansas, Lawrence;
University of Nebraska, Lincoln; Walker Art
Center, Minneapolis; The Brooklyn Museum,
The Metropolitan Museum of Art, The Museum
of Modern Art, Whitney Museum of American
Art, New ^'ork; University of Oklahoma, Nor-
man; Portland Art Museum, Oregon; S. C.
Johnson & Son Collection, Racine; University of
Arizona, Tuscon; Munson-Willianis-Proctor In.sti-
tute, Utica; The Phillips Collection, Washington,
D.C.; and in man\' other collections.
62
/grant
JAMES GIL/VNT, Black-White & Blue, 1966.
Polyvin) 1 resin, 56 x 56. Lent by Mr. and Mrs.
William Coblentz, San Francisco. The Hansen
Galleries, San Francisco.
"This painting is one of a series that developed
during the course of several years from a more
traditional use of collage. Though most collage
material is now overpainted, certain attitudes in-
herent in its use remain : emphasis on the physi-
cal presence of the material and an identity of
particular areas characterized by consistent color
or te.xture and the reinforcing of outline. Con-
ditioned by these attitudes, sections of the paint-
ing are attached physically to one another much
as though they were sculptural forms."
James Grant was born in Los Angeles, Cali-
fornia, in 1924. He received his B.E. degree from
the University of Southern California in 1945 and
his M.F.A. from the Jepson Art Institute, Los
Angeles, in 1949. From 1950 to 1959 Mr. Grant
taught at Pomona College, Claremont, California.
He lives in San Francisco, California.
Special exhibitions of Mr. Grant's work have
been held at The Pasadena Art Museum, 1952;
Humboldt State College, Areata, California
1958; University of Cahfornia, Riverside, 1958
Pomona College, Claremont, California, 1959:
Grand Central Moderns, New York, 1961, 1963
Galleria Pogliani, Rome, 1962; M. H. de Young
Memorial Museum, San Francisco, 1963; The
Hansen Galleries, San Francisco, 1965.
Mr. Grant's work has been included in group
exhibitions at Stephens College, Columbia, Mis-
souri; De Tering Gallery-, Dallas; Mary Washing-
ton College, Fredericksburg, Virginia; Cornell
University, Ithaca; La Jolla Museum of Art;
Nebraska Art .-Association, University of Ne-
braska, Lincoln; Los Angeles County Museum
of Art; M. Knoedler & Company, Inc., The
Museum of Modern Art, Bertha Schaefer, New
York; The Pasadena An Museum; Idaho State
University, Pocatello; California State Fair &
Exposition .Art Show, Sacramento; .San Fran-
cisco Art Institute; San Francisco Museum of .Art.
His work is in the collections of Dr. and Mrs.
Peter Selz, Berkeley; Dr. and Mrs. Seymour Slive,
Cambridge; Pomona College, Claremont, Cali-
fornia; Mary Washington College, Fredricks-
burg, Virginia; The Pasadena Art Museum.
LAINg/63
I
GERALD LAING, Slot, 1965. Baked enamel on
aluminum, chrome and brass, 63 x 42' J x 22. Lent
by Mr. and Mrs. Robert Mayer, VVinnetka, Illi-
nois. Richard Feigen Gallery, New York &
Chicago.
Gerald Laing was born in Newcastle-on-Tyne,
England, in 1936. He attended the Royal Mili-
tary .Academy, Sandhurst, 1954-56, and St. Mar-
tin's School of .-^rt, London, 1956-60. In the
summer of 1966 he was the artist-in-residence
at the Institute of Humanistic Studies, Aspen.
He lives in New York, N.Y.
Special exhibitions of Mr. Laing's work have
been held at the Institute of Contemporary Art,
London, 1964; Feigen/Palmer Gallery, Los .Ange-
les, 1964; Richard Feigen Gallery, New York,
1964, 1965; Richard Feisjen Gallery, Chicago,
1965, 1966.
His work has been included in group exhibi-
tions at the Young Contemporaries, London,
1963, 1964; Musee d'.Art Moderne, Paris, 1963;
The Pace Gallery, Boston, 1964; Albright-Knox
Art Gallery, Buffalo, 1964; .Arts Council of Great
Britain, Institute of Contemporary .Arts, London,
1964; Richard Feigen Gallery, The Pace Gallery,
New York, 1964; Museum of Contemporary .Art,
Nagaoka, Japan, 1965; San Francisco Museum of
Art, 1965; Stedelijk Museum, .Amsterdam, 1966;
Richard Feigen Gallery, Chicago, 1966; The
Ohio State University, Columbus, 1966; New
Paltz State College, New Paltz, New York, 1966;
The .American Federation of .Arts, Finch College,
The Jewish Museum, New York University, New
York, 1966; Larry Aldrich Foundation Museum,
Ridgefield, Connecticut, 1966.
6^/BOLOA1fy
ROGER BOLOMEY, Hoboken #12, 1964-65.
Polyurcthane, 84x132. Royal Marks Gallery,
New York.
"My work usually pertains to natural element.s,
to moments and happenings as they take place
in nature, to a kind of life process. The material
I use is to some extent self-creating; after giving
basic form to the work, I watch the surface flow
and allow it to set as if arrested in its own crea-
tion. This combination of creating form and
activating a sort of life process over it is mean-
ingful to me, and I hope it results in works that
are meaningful to others."
Roger Bolomey was born in Torrington, Con-
necticut, in 1918. He studied in Switzerland for
four years; then at the Accademia di Belle Ani,
Florence; and at the California College of Arts
and Crafts, Oakland. He lives in Wingdale, N.Y.
Mr. Bolomey has recei\ed awards from the
California State Fair & Exposition .\rt Show,
Sacramento, 1961; San Jose State College, 1962;
AValnut Creek Pageant of .'\rts, California, 1962;
Bundy Art Gallery, Waitsfield, Vermont, 1963;
Art in America magazine. New York, 1966. Spe-
cial exhibitions of his work have been held at the
E. B. Crocker Art Gallery, Sacramento, 1950;
San Francisco Museum of Art, 1950; Gallery
Passedoit, New York, 1951; Santa Barlsara Mu-
seum of Art, 1953; M. H. de Young Memorial
Museum, San Francisco, 1954; California Palace
of the Legion of Honor, San Francisco, 1958;
Royal Marks Gallery, New York, 1964, 1965.
His work has been included in group exhibi-
tions at the San Francisco Art Association, 1950,
1960; San Francisco Museum of Art, 1952, 1962,
1963; The Contemporaries, New York, 1960;
BoUes Gallery, Eric Locke Gallery, San Fran-
cisco, 1960; California State Fair & Exposition
Art Show, Sacramento, 1961; San Francisco Art
Instiute, 1961, 1962; The Art Institute of Chi-
cago, 1963; Royal Marks Gallery, New York,
1963, 1964, 1965; Salon de Mai, Paris, 1963;
Industrial Exhibition of Plastics Industries, St.
Louis, 1963; New School for Social Research,
New York, 1964; Whitnev Museum of American
.Art, New York, 1964, 1965; Museum of Art, Car-
negie Institute, Pittsburgh, 1964; Larry Aldrich
Foundation Aluseum, Ridgefield, Connecticut,
1964, 1965; The .American Federation of Arts,
New York, 1965-66; World's Fair, New York,
1965; Swiss Tri Annual, Bienne, Switzerland,
1966.
Mr. Bolomey 's work is in the collections of the
Los .Angeles County Museum of .Art; Chase Man-
hattan Bank, Lipman Foundation, The Mu.seum
of Modern Art, Whitney Museum of American
Art, New York; Larry Aldrich Foundation Mu-
seum, Ridgefield, Connecticut; Bundy Art (Gal-
lery, \Vaitsfield, \'ermont; and many others.
65
66 1 BARNES
— I
ROBERT BARNES, Untitled, 1966. Latex on
canvas, 72 x 84. Lent by Mr. and Mrs. Jordan Co-
hen, Kansas City. Allan Frumkin Gallery, Chicago.
Robert Barnes was born in Washington, D.C.,
in 1934. He studied at The School of The Art
Institute of Chicago, 1952-56, and at the Univer-
sity of Chicago, 1952. He received a two-year
scholarship to The School of The Art Institute
of Chicago and a Fulbright Fellowship to En-
gland, 1961-63. Mr. Barnes has taught at the
Kansas City Art Institute and School of Design,
Missouri, and since 1960 at Indiana University,
Blooinington. He lives in Bloomington, Indiana.
Mr. Barnes's work was represented in "New-
Talent," Art in America magazine. New York,
1962, and special exhibitions of his work have
been held at Rockford College, Illinois, 1956;
Allan Frumkin Gallery, Chicago, 1960, 1961,
1964, 1965, 1966; Indiana University, Bloom-
ington, 1965; Reed College, Portland, 1966.
Mr. Barnes's work has been included in group
exhibitions at the Lhiiversity of Chicago, 1956;
The University of Iowa, Iowa City, 1960; Indi-
ana University, Bloomington, 1961; University of
Colorado, Boulder, 1961; The Art Institute of
Chicago, 1961, 1963, 1964; Kansas City Art
Institute and School of Design, Missouri, 1962-
63; Whitney Museum of American Art, New
York, 1962, 1965; Galerie du Dragon, Paris, 1962;
The Museum of Modern Art, New York, 1963;
San Francisco Museum of Art, 1963; Museo
Civico, Bologna, 1965; Salon de Jcune Peintres,
Paris, 1965; Rhode Island School of Design,
Providence, 1965, 1966; The Pennsylvania .'Acad-
emy of the Fine .Arts, Philadelphia, 1966; The
Virginia Museum of Fine .Arts, Richmond, 1966.
Mr. Barnes's work is in the collections of The
Art Institute of Chicago; The Museum of Mod-
ern Art, Whitney Museum of American Art, New
York; The Pasadena Art Museum.
SUNG AVOO CHUN, Mandala Tradition #1',
1964. Oil on canvas, 59 x 44. Bollcs Gallery, San
Francisco. (1961, 1963)
"During the last few years, the Mandala be-
came the most frequent subject for my paintings.
"The Mandala is the pictorial bible of the
ancient Buddhism, and it also represents the
eternal Universe. But most of all, it symbolizes
the state of mind of an individual: the state of
mind where one could achieve the ab.solute and
the eternal tranquility.
"It is my belief that, while paintings are de-
veloped, it produces a personalized atmosphere,
a reality which exists primarily in the mind of
the painter, and for this reason, I deeply believe
in the significance of the Mandala.
".\nd it is my belief that Mandala could best
be expressed through the way of Nature, since
to synthesize the state of mind is the root of
creativity, and as a result, the painting would
have simplicity of forms, and also a complex
meaning.
"Symbolically, the nature simplifies in order
to express the complex meaning and expressions."
Sung \Voo Chun was born in Seoul, Korea, in
1935. He studied at the Seoul National Univer-
sity; San Francisco State College; San Francisco
Art Institute, where he obtained a B.F.A. degree;
Mills College, Oakland, where he received his
M.F.-A. degree: and Ohio State University, Co-
lumbus, where he received his Ph.D. degree. He
lives in Seoul, Korea.
Sung ^^'oo Chun has won awards from the
Seoul National Museum and the San Francisco
Museum of Art. Special exhibitions of his work
have been held at the Dong Wha Gallery, Seoul,
1943; Minakai Gallery, Seoul, 1948; Lucien La-
baudt Galler\", San Francisco, 1957; Mi Chou
Galler\-, New York, 1959; Bolles Gallerv, San
Francisco, 1960, 1962; Bolles Gallery, New York,
1962; Richmond .-\rt Center, Richmond, Cali-
fornia, 1964.
His work has been included in group exhibi-
tions at the University of Illinois, Champaign-
Urbana; Mi Chou Gallery-, \Vhitncy Museum of
American .\xX, New York; Provincetown .'\rts Fes-
tival; San Francisco Museum of Art; Butler Insti-
tute of .American .Art, Youngstown. Sung ^Voo
j Chun's work is in the collections of Sarah Law-
rence College, Bronxville, New York; Chase Man-
hattan Bank, Whitney Museum of .American .Art,
I New York; Mr. John Bolles, San Francisco Mu-
I seum of Art, San Francisco; Seoul National Mu-
seum; Dr. Richard Gorton; Marsteller Collection.
sung/
67
68
bechtle/
69
ROBERT ALAN BECHTLE, French Door,
1965. Oil on canvas, 72 x 72. Berkeley Gallery,
San Francisco.
Robert Bechtle was born in San Francisco,
California, in 1932. He studied at the California
College of Arts and Crafts, Oakland, where he
received his B..\.A. degree, 1954, and ^LF.A.
degree, 1958; and at the L'niversity of California,
Berkeley, 1960-61. He has lectured at the Uni-
versity of California, Berkeley, and taught at the
California College of Arts and Crafts, Oakland,
since 1957. Mr. Bechtle lives in Oakland, Cali-
fornia.
Mr. Bechtle has won awards from the San
Francisco Art Festival, 1954; Oakland .'\rt Mu-
seum, 1957, 1958, 1959, 1960, 1961; Museum of
1958; Jack London Square Art
1958; Richmond Art Center,
1961, 1964, 1965; James D.
Phelan award fund, San Francisco, 1959; San
Francisco Museum of Art, 1959, 1965; California
College of Arts and Crafts, Oakland, 1960;
Monte \'ista Invitational, Danville, California,
1966. .Special exhibitions of his work have been
held at the San Francisco Museum of Art, 1959,
Fine Arts, Boston,
Festival, Oakland,
California, 1958,
1964; Lawrence Drake Gallery, 1960; LIniversity
of California, Berkeley, 1965; Richmond Art
Center, California, 1965; E. B. Crocker Art (!al-
lery, Sacramento, 1966.
His work has been included in group exhibi-
tions at The Brooklyn Museum, 1960, 1964, 1966;
Achenbach Foundation for Graphic Arts, San
Franci-sco, 1960; California Palace of the Legion
of Honor, San Francisco, 1960, 1961, 1964, 1965;
United States Information Agency, \Va.shington,
D.C., 1960-62, 1965-66; Wit'te Memorial "Mu-
seum, San Antonio, 1965; San Francisco Art
Institute, 1965, 1966; California State College at
Havward, 1966; University of Arizona, Tucson,
1966.
Mr. Bechtle's work is in the public collections
of Starr King School for the Ministry, Berkeley;
Diablo \'alley College, Concord, California;
Monte \'ista High School, Danville, California;
Chase Manhattan Bank, New York; Mills Col-
lege, Oakland; Concordia Teachers College,
Ri\er Forest, Illinois; Achenbach Foundation for
Graphic Arts, San FrancLsco Art Commission,
San Francisco; San Jose State College; Library
of Congress, United States Information Agency,
Washington, D.C.; and many private collections.
70
/snow
V. DOUGLAS SNOW, Plateau, 1966. Oil on
canvas, 44 x 68. Feingarten Galleries, Los Angeles.
"I try to be honest and get at the essence of my
deepest response toward nature."
V. Douglas Snow was born in Salt Lake City,
Utah, in 1927. He studied at the University of
Utah, Salt Lake City, 1943-46, and at the Cran-
brook Academy of .Art, Bloomfield Hills, Mich-
igan, 1947-50. Mr. Snow was the recipient of a
Fulbright Fellowship to Rome, 1950-51. He
has taught at the Flint Institute of Arts, 1950;
Stanford University, Palo Alto, summer 1952;
Wayne State University, Detroit, 1952-54; and the
University of Utah, Salt Lake City, from 1954 to
the present. He lives in Salt Lake City, Utah.
Special exhibitions of Mr. Snows work have
been held at the Paul Kantor Gallery, Los
Angeles, 1952, 1953, 1955, 1957; Santa Barbara
Museum of .'\rt, 1952; M. H. de Young Memorial
Museum, .San Francisco, 1952; Feingarten Gal-
leries, New York, 1961; Feingarten Galleries, Los
Angeles, 1962, 1964; Salt Lake Art Center, 1963.
His work has been included in group exhibi-
tions at the California Palace of the Legion of
Honor, San Francisco, 1952; University of Ne-
braska, Lincoln, 1953; The Pennsylvania Academy
of the Fine Arts, Philadelphia, 1954; Munson-
Williams-Proctor Institute, Utica, 1955; The
Denver Art Museum, 1956, 1957; The Museum of
Modern Art, New York, 1956; Colorado Springs
Fine Arts Center, 1957; Stanford University, Palo
Alto, 1958; Smithsonian Institution, Washington,
D.C., 1958.
Mr. Snow's work is in the the collections of the
Cranbrook Academy of Art, Bloomfield Hills,
Michigan; Ford Motor Company, Detroit; Miles
Laboratory, Elkart, Indiana; Bank of Las Vegas;
Salt Lake City Junior League, Salt Lake City
Public Library, Utah State Institute of Fine Arts,
Salt Lake City; Mr. Wright Ludington, Santa
Barbara; Mr. Gifford Phillips, Santa Monica.
ruda/ji
ED\VIN RUDA, Blake's Eye IJ, 1966. Acrylic
on canvas, 84 x 73. Park Place Gallery, New
York.
"The curtain hasn't fallen on twentieth-century
art. It's just that the backdrop is different. Some-
where along the line the sunset disappeared and
all I could make out was a set of gleaming teeth
and a bakcd-cnamel Chrysler ten times the hu-
man scale.
"It's not .so much a question of which side
you're on. When radio waves jump through your
head and you're zooming down the freeway,
choosing sides is pretty irrelevant.
"Though I sometimes wonder if things really
have changed much since the days of Li Po.
Perhaps it's only that nature looks different now,
like molecules instead of leaves.
"If you can see through the air pollution and
traffic, chances are you will find a few diehards
hanging on as always, thinking about art all the
time and making it the best way they know how."
Edwin Ruda was born in New York, New York,
in 1922. He received his B.S. degree from Cornell
University, Ithaca, in 1947; his M..'\. degree from
Columbia University, New York, in 1949; and
his M.F.A. degree from the University of Illinois,
Urbana, in 1956. From 1949 to 1951 Mr. Ruda
studied at the Escuela de Pintura y Escultura,
Institute National de Bellas Artes, Mexico City.
While attending the University of Illinois he was
granted a teaching assistantship. Mr. Ruda has
also taught at Texas Western University, El Paso,
1953; University of Texas, Austin, 1956-59; and
Pratt Institute, New York, 1961-66. He lives in
New York, N.Y.
Special exhibitions of Mr. Ruda's work have
been held at the Globe Gallery, New York, 1961;
Feiner Gallery, New York, 1963; Park Place Gal-
lery', New York, 1966. His work has been in-
cluded in group exhibitions at the Great Jones
Gallerv, New York, 1961; Camino Gallery, New
York, '1962; Park Place Gallerv, New York, 1963,
19(i4, 1965, 1966; John Daniels Gallery, Gol-
dowsky Gallery, New York, 1964; World's Fair,
New York, 1965; The Solomon R. Guggenheim
Museum, New York, 1966.
Mr. Ruda's work is in the collections of the
.MIentown .Art Museum, Pennsylvania; The Lan-
non Foundation, Chicago; Dallas Museum of Fine
.\rts, Mr. D. D. Feldman, Dallas; N'irginia Dwan,
Mrs. .Mbert List, New York; Lakeview Center for
the .Arts and Sciences, Peoria.
72
nelson/73
d -75 ¥■ '^ ?
N
ROBERT A. NELSON, Andrew Jackson with
Ray Gun, 1966. Oil, collage, and construction on
canvas, 64 x 50. Banfer Gallery, Inc., New York.
"My work is given over to compositions and
portraits which are essentially federal icons. Fig-
ures from the broad .American past, but most
specifically the nineteenth centur\', become the
trigger mechanisms which dictate my oil and con-
struction art forms. The nostalgia and the heroics
which cloak both good and evil figures found in
the wash of early Americana form the climate
from which my work evolves. The images of
Washington and Lincoln, .-Xnnie Oakley and
George .'\rmstrong Custer, Billy the Kid and Sam
Bass, Grant and Lee, or Lindbergh and Dillinger
are the foundations for shape, color, and organi-
zation. The elements of space and collage, plexi-
glas and voice bubble, line and color, and the
monumentality of physical dimensions are de-
vices which shape a suitable stage upon which the
figures of history, both real and legendary, per-
form. In some ways my work is most probably
out of context with the grand modern movements
of the middle twentieth century: it may be shot
through with the last dying vestiges of sur-
realism, cheap illustration, and the qualities of
calendar and tobacco can advertisement; it may
be limited to old-fashioned glaze techniques and
hard-line drawing; yet, it becomes a method of
speaking which allows me to resurrect in solid
form the multi-purposed ghosts and shades from
the main halls and side cubicles of .American his-
torical time. I am a visual mercenar\- in the pay
of the Cheyenne chieftains, of the Civ'il ^Var foot
soldiers, of the aviators who fought for the skies
in the France of 1916-18, and of the great march
of political leaders from the eve of the American
Revolution to the middle years of prohibition. I
am satisfied with my imaginative documentary
position — I would trade it for no other."
Robert A. Nelson was born in Milwaukee, Wis-
consin, in 1925. He studied at The School of
The Art Institute of Chicago, where he received
his B.A.E. degree in 1950 and the M..'\.E. degree
in 1951; New York University, 1962-63; The John
Herron .'\rt Institute, Indianapolis, summers
1963, 1964. He was the recipient of the Bryant-
Lathrop Traveling Fellowship, 1951-52; Mac-
cauley Lithographic Grant, Winnipeg, 1954; Fac-
ulty Research Grants from the University of
Manitoba, ^Vinnipeg, 1955, and from the Lnivcr-
sity of North DakoYa, Grand Forks, 1958, 1960,
1966; Danforth Teachers Fellowship, 1962-63;
Tamarind Lithographic Fellowship, summers,
1963, 1964. Mr. Nelson has taught at The School
of The An Institute of Chicago, 1952-53; Univer-
sity of Manitoba, Winnipeg, 1953-56; and at the
University of North Dakota, Grand Forks, 1956
to the present. He lives in Grand Fork.s, North
Dakota.
In 1951 Mr. Nelson received the Cezanne
Medal awarded by the French government. Spe-
cial exhibitions of his work have been held at the
Gallery of Contemporary Art, Chicago, 1948;
Sapi Gallery, Palma dc Mallorca, Spain, 1952;
University of Manitoba, Winnipeg, 1953, 1954,
1955; Roko Galler>-, New York, 1954; Univer-
sitv of North Dakota, Grand Forks, 1956, 1957,
1959, 1960, 1964, 1965; in Valley City, North
Dakota, 1957; Bismarck, North Dakota, 1959; at
Concordia College, Moorhcad, 1959; Rourke Gal-
lery, Moorhead," 1959, 1960, 1961, 1962, 1963,
1964; in Denver, Colorado, 1960; at Banfer Gal-
lery, Inc., New York, 1963, 1964, 1966; Montana
State University, Missoula, 1964; Joslyn .'\rt Mu-
seum, Omaha, 1964; University of Omaha, 1964.
His work has been included in group exhibi-
tions at The .Art Institute of Chicago, 1947, 1948,
1949, 1950; Milwaukee Art Center, 1948, 1949,
1950; Walker .Art Center, Minneapolis, 1960,
1961, 1962, 1963, 1964; The Denver Art Museum,
1961, 1962, 1963, 1964, 1965; The Museum of
Modern .Art, New York, 1962; Universitv of \Vis-
consin, Madison, 1962, 1964, 1965; Colorado
Springs Fine Arts Center, 1963, 1964, 1965, 1966;
Ball .State Teachers College, Muncie, Indiana,
1963, 1964, 1965; Butler Institute of .American
Art, Youngstown, Ohio, 1963, 1964, 1966; The
Brooklyn Museum, 1964; Pratt Institute, New
York, 1964, 1965; Joslvn .Art Museum, Omaha,
1964, 1965; The Corcoran Gallery of Art, Wash-
ington, D.C., 1964; The Baltimore Museum of
.Art, 1966; Bucknell L'niversity, Lewisburg, Penn-
sylvania, 1966; The Virginia Museum of Fine
.Arts, Richmond, 1966.
His work is in the collections of the .Allentown
.Art Museum, Pennsylvania; The .Art Institute of
Chicago; University of North Dakota, Grand
Forks; Bucknell University, Lewisburg, Pennsyl-
vania; The Minneapolis Institute of .Arts, Walker
.Art Center, Minneapolis; Ball State Teachers
College, Muncie, Indiana; Hilton Hotel, Rocke-
feller Center, New A'ork; Carleton College, North-
field, Minnesota; Burbee Galler\- of .Art, Rockford,
Illinois; Saint Paul .Art Center; L'.S. Judge's Col-
lection of Washington, D.C., Municipal Court;
Butler Institute of .American .Art, Youngstown.
74/kIENBUSCH
WILLIAM KIENBUSCH, Winter, 1966. Casein
on board, 29 x 43%. Kraushaar Galleries, New
York. (1965)
"My picture, JVinter, is just that, a personal
evocation of winter in downcast Maine. In fact,
it was not only winter, it was a blizzard. It took
me an hour and more to walk a half mile to the
post office and back to my friends' house, and I
shall never forget the total whiteness, the freez-
ing cold, and the cutting cruelty of the snow. In
recent years I find myself, more and more, sacri-
ficing everything to a lyric equivalent of the
mood."
William Kienbusch was born in New York,
New York, in 1914. He majored in Fine Arts at
Princeton University and graduated in 1936 with
a Phi Beta Kappa award. He attended the Art
Students League of New York, 1936-37. He
studied with Henry Varnum Poor at the Colorado
Springs Fine Arts Center; at Colarossi's and with
Abraham Rattner in Paris; with Anton Refrcgier
and Stuart Davis in New York. Mr. Kienbusch
received a John Simon Guggenheim Memorial
Foundation fellowship in 1958. Presently he is
an instructor at The Brooklyn Museum Art
School and lives in New York, N.Y.
Mr. Kienbusch has won awards from The
Brooklyn Museum, 1952; The Metropolitan Mu-
seum of Art, New York, 1952; Columbia Museum
of Art, South Carolina, 1957; New York State
Fair, Syracuse, 1958; Provincetown Arts Festival,
1958; Summer Art Festival, Portland, Maine,
1960; Boston .^rts Festival, 1961; Ford Founda-
tion, 1961. Special exhibitions of his work have
been held at the University of Maine, Orono,
1956; Cornell University, Ithaca, 1958; Art Mu-
seum, Princeton University, 1962.
Mr. Kienbusch's work has been in many group
exhibitions including those at the Museum of
Art, Carnegie Institute, Pittsburgh, 1954; Whitney
Museum of American Art, New York, 1955;
World's Fair, Brussels, 1958; Fort Worth Art
Center, 1964; Krannert Art Museum, University
of Illinois, Champaign, 1965; Albright-Knox Art
Gallery, Buflfalo; The Art Institute of Chicago;
Des Moines Art Center; Walker Art Center,
Minneapolis; The Metropolitan Museum of Art,
The Museum of Modern Art, New York; The
Virginia Museum of Fine Arts, Richmond.
His work is in the collections of the University
of Michigan, Ann Arbor; Atlanta University;
Lehigh University, Bethlehem, Pennsylvania; Mu-
seum of Fine Arts, Boston; Bowdoin College,
Brunswick, Maine; Albright-Knox Art Gallery,
Buffalo; Colorado Springs Fine Arts Center;
Columbia Museum of Art, South Carolina; Des
Moines Art Center; The Detroit Institute of Arts;
University of Delaware, Dover; Fort Worth Art
Center; Dartmouth College Museum, Hanover;
Wadsworth Athcncum, Hartford; The Museum of
Fine Arts, Houston; Nelson Gallery-Atkins Mu-
seum, Kansas City, Missouri; University of
Nebraska, Lincoln; The Currier Gallery of Art,
Manchester, New Hampshire; University of Min-
nesota, Minneapolis; Montclair Art Museum,
New Jersey; The Newark Museum; New Britain
Museum of American Art, Connecticut; The
Brooklyn Museum, The Metropolitan Museum of
Art, The Museum of Modern Art, Sara Roby
Foundation, Whitney Museum of American Art,
New York; University of Maine, Orono; The
Pennsylvania Academy of the Fine Arts, Phila-
delphia; Philadelphia Museum of Art; Museum
of Art, Carnegie Institute, Pittsburgh; Portland
Museum of Art, Maine; Chrysler Art Museum
of Provincetown; The Virginia Museum of Fine
Arts, Richmond; Rochester Memorial Art Gal-
lery; The Toledo Museum of Art; The Art Gal-
lery of Toronto; Munson-Williams-Proctor Insti-
tute, Utica; Wichita Art Museum; Williams
College, Williamstown, Massachusetts.
"5,
BISHOp/75
l3 f-'/-^
■^
4|f
''^^^
ISABEL BISHOP, Study for Undressing on the
Bed, 1961. Oil on canvas, 19x38. Midtown
Galleries, New York. (1950, 1963, 1965)
"Within the essential problem of figuration vs.
ground, I hope to make the ground yield up, as it
were, a moving figure."
Isabel Bishop (Mrs. Isabel Bishop Wolff) was
born in Cincinnati, Ohio, in 1902. She studied in
Detroit, at the .\rt Students League of New York,
and in Europe. Miss Bishop received a grant
from the .American Academy of Arts and Letters,
New York. She has taught at Yale University
Art School, New Haven; the .Art Students League
of New York; and at the Skowhegan School of
Painting and Sculpture, Maine. She lives in New
York, N.Y.
Miss Bishop has won awards from the .Art .As-
sociation of Newport; .American Artists Group,
Society of .American Etchers, National Institute
of .Arts and Letters, National .Academy of Design,
New A'ork; The Pennsylvania Academy of the
Fine .Arts, Philadelphia; The Corcoran Gallery of
Art, Washington, D.C.; Butler Institute of Amer-
ican Art, Youngstown.
Miss Bishop's work has been shown in many
special and group exhibitions and is represented
in the collections of .Atlanta University; Cran-
brook .Academy of Art, Bloomfield Hills, Mich-
igan; Museum of Fine .Arts, Boston; Florida Gulf
Coast Art Center, Clearwater; Colorado Springs
Fine Arts Center; The Columbus Gallery of Fine
.Arts, Ohio; Des Moines .Art Center; Herron Mu-
seum of .Art. Indianapolis; Nelson Gallery-.Atkins
Museum, Kansas City, Missouri; Nebraska .Art
-Association, Lincoln; The Newark Museum; New-
Britain Museum of .American .Art, Connecticut;
The Brooklyn Museum, The Metropolitan Mu-
seum of .Art, \Vhitney Museum of .American .Art,
New York; The Pennsylvania .Academy of the
Fine .Arts, Philadelphia; The N'irginia Museum
of Fine .Arts, Richmond; Museum of Fine .Arts,
Springfield, Massachusetts; City .Art Museum of
St. Louis; Munson-\Villiams-Proctor Institute,
Utica; The Corcoran Gallery of .Art, The Phillips
Collection, Washington, D.G.; Butler Institute of
American Art, Youngstown.
76
ENRIQUE CASTRO-CID, Anthropomorphicah
I and II, 1964. Plexiglas and aluminum, 65 x
20x24. Richard Feigen Gallery, New York &
Chicago.
Enrique Castro-Cid was born in Santiago,
Chile, in 1937. He attended the Escuela de
Bellas Artes, Universidad de Chile, Santiago,
from 1957 to 1959. In 1962 he received a
scholarship from the Organization of American
States, and in 1964 a fellowship from the John
Simon Guggenheim Memorial Foundation. Mr.
Castro-Cid has taught at the Escuela de Bellas
Artes, Universidad dc Chile, Santiago. He lives
in New York, N.Y.
Special exhibitions of Mr. Castro-Cid's work
has been held at La Livertad Galeria, Santiago,
1960; Feigen/Palmer Gallery, Los Angeles, 1963;
Richard Feigen Gallery, New York, 1963, 1965,
1966; Richard Feigen Gallery, Chicago, 1964.
His work has been included in group exhibi-
tions at the International Gallery, Tokyo, 1959;
Galeria de Arte Contemporaneo, Caracas, 1960;
Pan American Union, Washington, D.C., 1961;
in Mexico, 1963; at The Byron Gallery, New
York, 1964, 1965; Museum of Art, Carnegie
Institute, Pittsburgh, 1964; Institute of Contem-
porary Arts, Washington, D.C., 1964; Krannert
Art Museum, University of Illinois, Champaign,
1965; Ravinia Park, Highland Park, Illinois,
1965; The Kornblee Gallery, New York, 196.5;
The American Federation of Arts, Sidney Janis
Gallery, The Jewish Museum, New York, 1966;
Smithsonian Institution, Washington, D.C., 1966.
castro-cid/
77
•^ •-)
3 ■■ J/' '■
78
/levi
JOSEF LEVI, Vinum 8, 1966. Liquitex, per-
forated metal, and fluorescent light, 36'/2 x 39'/2
X 8. Stable Gallery, New York.
"Impermanence of visual experience is the
only constant reality. I wish to emphasize this
mutability under varying conditions of light and
color." (Courtesy of Art in Artierica, \'ol. LIV,
No. 4, 1966, p. 49.)
Josef Levi was born in New York, New York,
in 1938. He studied at the L^niversity of Con-
necticut, Storrs, where he received his B.A. de-
gree in 1959, and at Columbia L'niversity, New
York, 1960. He lives in New York, New York.
A special exhibition of Mr. Levi's work was
held at the Stable Gallery, New York, 1966. His
work has been included in group exhibitions at
the Des Moines Art Center, 1966; Flint Institute
of Arts, Michigan, 1966; Contemporar\- .\rts
Association, Houston, 1966; Nelson Gallery-
Atkins Museum, Kansas City, Missouri, 1966;
The Museum of Modern Art, New York, 1966;
University of Pennsylvania, Philadelphia, 1966;
Larry Aldrich Foundation Museum, Ridgefield,
Connecticut, 1966.
Mr. Levi's work is in the collections of the
Albright-Knox Art Gallery, Buffalo; The Mu-
seum of Modern Art, New York; Larry Aldrich
Foundation Museum, Ridgefield, Connecticut.
dole/
79
WILLIAM DOLE, Mandaic, 1966. Collage on
niasonitc, 22 x 28. Lent by Mr. and Mrs. Donald
M. Jones, San Marino, California. Rex Evans
Gallery, Los Angeles. ( 1965)
"My pictures are constructed from fragments,
some found, some prepared. They derive from,
or reflect, a complex visual environment which
includes increasingly the documents, records,
forms, indices, etc. that circumscribe contempo-
rary life. I intend, without embarrassment, the
images I create to be beautiful things. The image
of chaos need not itself be chaotic."
^Villiam Dole was born in .Angola, Indiana, in
1917. He studied with Moholy-Nagy and Gyorgy
Kepes in Chicago; and with Kuniyoshi at Mills
College, Oakland. He received his B./\. degree
from Olivet College, Michigan, and his M.A.
degree from the L'niversity of California, Berke-
ley, in 1947. Mr. Dole has taught at the Llniver-
sity of California, Berkeley, and presently is
Chairman of the .\xx. Department at the Univer-
sity of California, Santa Barbara. He lives in
Santa Barbara.
Special exhibitions of Mr. Doles work have
been held at the Galerie Springer, Berlin, 1956;
Eric Locke Gallery, San Francisco, 1956; Gallcria
Sagittarius, Rome, 1957; Graham Gallery, New
YoVk, 1958, 1960; Santa Barbara Museum of
Art, 1958; Bertha Lewinson Gallery, Los Angeles,
1959; Art Center in La Jolla, 1960; California
Palace of the Legion of Honor, San Francisco,
I960; Galeria Antonio Souza, Mexico City, 1961.
His work has been included in group exhibi-
tions at the Esther Bear Gallery, Santa Barbara,
1960, 1961, 1963, 1964; Rex Evans Gallery, Los
Angeles, 1961, 1963, 1964, 1965, 1966; Pasadena
Art Museum, 1962; California Palace of the
Legion of Honor, San Francisco, 1962; Santa
Barbara Museum of .^rt, 1962; Krannert Art
Museum, University of Illinois, Champaign, 1965;
LJniversity of California, Santa Barbara, 1965;
McRoberts & Tunnard Gallery, London, 1966.
William Dole's work is in the collections of
Mr. and Mrs. Lenis Cabot, Boston; Mrs. Dwight
Harken, Cambridge; Mr. and Mrs. Sidney Brody,
Miss Naomi Hirshhorn, Mr. and Mrs. Billy
Wilder, Los Angeles; Walker Art Center, Minne-
apolis; Mr. George Frelinghuysen, Palm Springs;
Mr. Richard Ames, Mr. Wright Ludington, Miss
Margaret Mallory, Santa Barbara; Santa Barbara
Museum of Art; Joseph H. Hirshhorn Collection,
\Vashington, D.C.
80
/PEARLSTEIN
PHILIP PEARLSTEIN, Model Reclining on
Couch, 1966. Oil on canvas, 54x7P/i. Allan
Frumkin Galleiy, New York. ( 1965 )
Philip Pearlstein was born in Pittsburgh, Penn-
sylvania, in 1924. He studied at the Carnegie
Institute of Technology where he received a
B.F.A. degree, and at Nevs' York University where
he received an M.A. degree. In 1958 he was a
recipient of a Fulbright Fellowship to Italy. Mr.
Pearlstein has taught'at the Pratt Institute, Brook-
lyn; Yale Universky, New Haven; and is presently
teaching at Brooklyn College. He lives in New
York, N.Y.
Special exhibitions of Mr. Pearlstein's work
have been held at the Tanager Gallery, New
York, 1955; Peridot Gallery, New York, 1956,
1957, 1959; Allan Frumkin Gallery, New York,
1963, 1964, 1966; Allan Frumkin Gallery, Chi-
cago, 1965; Ceeje Gallery, Los Angeles, 1965;
Reed College, Portland, Oregon, 1965; Swarth-
more College, Swarthmore, Pennsylvania, 1965.
His work has been included in group exhibitions
at the Museum of Art, Carnegie Institute, Pitts-
burgh, 1955, 1964; Nebraska Art .Association,
Lincoln, 1956, 1957, 1958; Whitney Museum of
American Art, New York, 1956, 1958, 1962, 1965;
The Art Institute of Chicago, 1959, 1962, 1964;
University of Colorado, Boulder, 1962; San Fran-
cisco Museum of Art, 1963; Krannert Art Mu-
seum, University of Illinois, Champaign, 1965;
University of Texas, Austin, 1966.
Mr. Pearlstein's work is in the collections of the
AUentown Art Museum, Pennsylvania; University
of Nebraska, Lincoln; The American Federation
of Arts, Mr. Richard Brown Baker, Mr. Edgar
Kaufmann, Jr., New York University, Whitney
Museum of American Art, New York; Reed Col-
lege, Portland, Oregon; Syracuse University.
81
■V^ <ti.->-
82
/forakis
PETER FORAKIS, Magic Box I, 1966. Stain-
less steel polished, 18 x 12 x 12. Park Place Gal-
lery, New York.
". . . Right now the line is everything. . . .'
". . . Each morning every day is different. . . ."
Peter Forakis was born in Hanna, Wyoming, in
1927. He studied at the San Francisco Art Insti-
tute where he received his B.F..A. degree in 1957.
He has taught at the San Francisco Art Institute,
1958; The Brooklyn Museum Art School, 1961,
1962, 1963; Pennsylvania State University, Uni-
versity Park, 1965; Carnegie Institute of Tech-
nology, Pittsburgh, 1965; University of Rhode
Island, Kingston, 1966. He lives in New
York, N.Y.
Mr. Forakis was a recipient of an award from
the Marina Sculpture Center, California, 1958.
Special exhibitions of his work have been held at
the Gallery 6, San Francisco, 1955, 1956, 1957,
1958; David Anderson Gallery, New York, 1961;
Tibor de Nagy Gallery, New York, 1962, 1963;
Park Place Gallery, New York, 1966. His work
has been included in group exhibitions at the
Ueno Museum, Tokyo, 1953; San Francisco .\rt
.'\ssociation, 1955, 1958; San Francisco Museum
of Art, 1956, 1957, 1958; Cornell University,
Ithaca, 1960; Martha Jackson Gallery, New York,
1960, 1961; Cincinnati Art Museum, 1964; Uni-
versity of Nebraska, Lincoln, 1964; Riverside
Museum, The Solomon R. Guggenheim Museum,
New York, 1964; World House Galleries, New-
York, 1965; The Jewish Museum, New York,
1966.
Mr. Forakis' work is in the collections of Mr.
John G. Powers, Englewood Cliffs, New Jersey;
Virginia Dwan, Mr. Dan Graham, Mrs. Martha
Jackson, Mrs. Jill Kornblec, Mrs. .Albert List,
New York; Mr. J. Patrick Lannon, Palm Beach
and New York; Larry Aldrich Foundation Mu-
seum, Ridgefield, Connecticut.
KISHi/
83
MASATOVO KISHI, Opus 66-C-I2, 1966.
Oil on canvas, 70 x 70. Lent by Raychcm Cor-
poration, Redwood City, California. Arleigh Gal-
lery, San Francisco. (1963, 1965)
Masatoyo Kishi was born in Sakai, Japan, in
1924. He was graduated from llie Sakai Middle
School in 1941 and completed his studies in the
science course at the Tokyo Physical College in
1945. He organized the Tekkeikai CJroup in 1958.
In 1959 he became associated with the Yamada
Gallery in Kyoto and came to the United States
in 1960. He taught at Holy Names College, Oak-
land, 1965-66, and is presently teaching at
Dominican College, San Rafael. Mr. Kishi lives
in San Francisco, California.
Special exhibitions of Mr. Kishi's work have
been held at Sogo Art Gallery, Osaka, 1956;
Hakuho Gallery, Osaka, 1957, I960; Maruzen
Gallery, Tokyo, 1957; Takasnimaya Art GalleiT,
Osaka, 1958; K.C.C. Hall, Kobe, 1959; Nichi-
futsu Gallery, O.saka, 1960; Thibaut Gallery, New
York, 1961; Museum of Art, Carnegie Institute,
Pittsburgh, 1961; Bolles Gallery, San Francisco,
1962; Hanamura Gallery, Detroit, 1963; Lanyon
Gallery, Palo Alto, 1964; Nicholas Wilder Gal-
lery, Los Angeles, 1965; Arleigh Gallery, San
Francisco, 1966.
His paintings have been included in group ex-
hibitions in Osaka, 1957, 1958, 1959; Nishino-
miya, 1958; at the City Art Museum, Koyto,
1959, 1960; Ginza Gallery, Tokyo, 1960; Mu-
.seum of Art, Carnegie Institute, Pittsburgh, 1961;
Bolles Gallery, San Francisco, 1961; San Fran-
cisco Museum of Art, 1961, 1964; Hanamura Gal-
lery, Detroit, 1962; California Palace of the
Legion of Honor, San Francisco, 1962, 1964;
Krannert Art Museum, University of Illinois,
C;hampaign, 1963, 1965; Lanyon Gallery, Palo
.•\lto, 1963; M. H. de ^■oung Memorial Museum,
San Francisco, 1963; Tucson Arts Center, 1965;
The Fine Arts Gallery of San Diego, 1966.
Masatoyo Kishi's work is in the collections of
Mr. Joseph Cohen, Oakland; Mr. Richard Brody,
Mr. and Mrs. John G. Gregory, Palo Alto; Ray-
chem Corporation, Redwood City, California;
Mr. and Mrs. Dex Boring, Mr. and Mrs. Moses
Lasky, Mr. Harry Weinstein, San Francisco; Mr.
Allen S. Weller, Urbana; Mr. O. K. Mawardi.
84 AK AW IE
THOMAS F. AKAWIE, Santa Maria del Fiore,
1966. Acrylic on masonite, 72x48. Berkeley
Gallery, San Francisco, and David Stuart Gal-
leries, Los Angeles. ( 1965 )
"I would like to attempt to make a statement
about my current work even though I am rather
unskilled verbally. Perhaps some background
would help. My first four years of university
training were spent studying art history. During
this period I planned to teach in the field, .^fter
graduation, my wife and I went to Europe,
orienting our trip around traveling to and view-
ing the great architectural monuments of Western
Europe. At that time, floor plans seemed a
necessary evil toward the understanding of the
spatial relationships and organization of churches.
It did not occur to me then that they would
some day be used as material for paintings. Some
seven years later, after enjoying painting in many
styles, I now find my European experience, my
art history, coming into the painting that I am
doing.
"I try to transcend the blunt matter-of-fact
quality of the original church diagram. My ap-
proach is romantic. 1 have simultaneous desires
for mystery and order. For me these paintings
are multi-valued. The choice of the church is
important. Either I have been to the church and
have had some rich experience therein, or I have
a fantasy of wanting to go there. Some of my
paintings are trips to these places; some have a
memoir quality. Most often I feel it necessary
to change the formal relationships of the church
parts. I think of the spray technique as a means
of enlarging the space of the church, adding
light, even filling the chapels with neon gases or
artificial aromas. Some of the paintings are
mental landscapes or urban landscapes. Some
have erotic connotations. They always appear
anthropomorphic to me. Some are just my idea
of how a particular church is. Some may be
machines, women, hospitals, or formal gardens.
It is unnecessary for the viewer to know the
original church or plan as that is a different sort
of art history-."
Thomas F. .\kawie was born in New York,
New York, in 1935. He attended Los .'\ngeles
City College and the University of California,
Berkeley, where he was graduated with honors in
1959 and received an M..\. degree in 1963. Mr.
.\kawie has taught at the L'niversitv of California,
Berkeley, 1963-65; at California State College,
Los .\ngeles, 1965-66; and presently is teaching
at the San Francisco An Institute. He lives in
Berkeley, California.
Mr. Akawie has received several awards, and
special exhibitions of his work have been held at
the Contemporar^' Arts Gallerv, Berkelev, 1957,
1965, 1966; Bolles Gallery, San Francisco, 1963;
Comara Gallery, Los .■\ngeles, 1965; Long Beach
.Art Museum, 1966. His work has been included
in group exhibitions at the Coronet Lou\Te
Gallery, Los Angeles, 1956; Los Angeles County
Museum of Art, 1956; Contemporary .-Xrts
Gallery, Berkelev, 1957; Jackson Gallery,
Berkeley, 1960; The Denver Art Mu=eiun, 1962;
Richmond Art Center, California, 1962, 1963,
1964, 1965; California State Fair & Exposition
Art Show, Sacramento, 1962; Western ^Vashing-
ton State College, Bellingham, 1963; David
Stuart Galleries, Los Angeles, 1963; Bolles Gal-
lery, Brooks Hall, San Francisco, 1963; Quay Gal-
lery, Tiburon, California, 1963; San Francisco Art
Institute, 1964; San Francisco Museum of .Art,
1964, 1965; AValnut Creek Pageant of Arts,
California, 1964; University of California, Berke-
ley, 1965; Berkeley Gallery, San Francisco,
1965; Krannert Art Museum, University of Illi-
nois, Champaign, 1965; La Jolla Museum of Art,
1965; California .Art Museum, Newport Beach,
1965, 1966; \Vorld's Fair, New York, 1965;
Downey Museum of Art, Downey, California,
1966; \V'itte Memorial Museum, San Antonio,
1966; The Fine .Arts Gallery of San Diego, 1966.
Mr. Akawie's work is in the collections of Mr.
Robert Hartman, Berkeley; Downey Museum of
.Art, Downey, California; Mr. and Mrs. R.
Comara, Mr. Robert F. Taylor, Los .Angeles;
Miss Virginia R. Rosen, New York; Mr. Henry
J. Lowenstein, San Francisco.
85
'♦
•♦
Di
K
86/DUBIN
WILLIAM DUBIN, Tertiumquid, 1966. Exotic
hardwoods, 37x25x18. Dilexi Gallery, San
Francisco.
^Villiam Dubin was born in Los .Angeles, Cali-
fornia, in 1937. He studied at San Francisco
State College, 1961-64; San Francisco Art Insti-
tute, 1965; and the California College of Arts
and Crafts, Oakland, 1965-66. He lives in Oak-
land, California.
A special exhibition of his work was held at
the Dilexi Gallery, San Francisco, 1966. His work
has been included in group exhibitions at Pomona
College, Claremont, California, 1960; San Fran-
cisco Art Institute, 1960; San Francisco Museum
of Art, 1960, 1964, 1966; and the .American Ex-
press Company Pavilion, \Vorld's Fair, New York,
1965.
Mr. Dubin"s work is represented in the Asher
Family Collection, Los Angeles; and in the col-
lections of Mr. Sterling Holloway, South Laguna;
and Mr. Jon Nicholas Streep, New York.
KITAj/87
R. B. KITAJ, The Nice Old Man and the
Pretty Girl (with Huskies), 1964. Oil on canvas,
48 X 48. Marlborough-Gerson Galierv, Inc., New
York.
R. B. Kitaj was born in Ohio in 1932. He
studied at The Cooper Union School of Art and
.Architecture, New York, with Sydney Delevante,
R. B. Dowden, Paul Zucker, and John Ferrcn,
1950; at the Akademie der Bildcnden Kunste,
Vienna, 1952-53; Ruskin .School of Drawing and
of Fine Art, Oxford; and at the Royal College
of Art, London, 1958-61. He has taught at the
Ealing School of Art and the Cambenvell School
of Art, London, 1961-62. Periodically from 1949
to 1953 Mr. Kitaj traveled as a seaman to such
countries as Algeria, Tunisia, Spain, Venezuela,
and Columbia. He lives in London, England.
Mr. Kitaj has received awards from the
Walker Art Gallery, Liverpool, in 1961 and 1963.
Special exhibitions of his work have been held
at the Marlborough New London Gallery, Lon-
don, 1963; Los Angeles County Museum of Art,
1965; Marlborough-Gerson Gallery, Inc., New
York, 1965. His work is in the collections of
Haags Gemeentemuseum, The Hague; Walker
Art Gallery, Liverpool; Tate Gallery, Victoria
and Albert Museum, London; The Museum of
Modern Art, New York.
88
/trova
ERNEST T. TROVA, Study, Falling Man: 24"
Walking Man, 1966. Bronze, 24" high. Lent by
Mr. and Mrs. David Paul, New York. The Pace
Galler)', New York.
Ernest Trova was born in St. Louis, Missouri,
in 1927, and presently resides in that city.
Special exhibitions of his work have been held
at the Image Gallen,-, St. Louis, 1959, 1960, 1961;
The Pace Gallery, Boston, 1963; The Pace Gal-
lery, New York, 1963, 1965; H. Balaban Carp
Gallery, St. Louis, 1963; Hanover Gallery, Lon-
don, 1964, 1966; City .Art Museum of St. Louis,
1964; The Pace Gallery, Columbus, Ohio, 1966.
His work has been included in group exhibitions
at the City Art Museum of St. Louis, 1947, 1948,
1949, 1950, 1951, 1952, 1953, 1954, 1955, 1956,
1957, 1958, 1959, 1960, 1961; De Cordova and
Dana Museum, Lincoln, Massachusetts, 1963;
The Pasadena .Art Museum, 1963; The Art Insti-
tute of Chicago, 1964; The Solomon R. Guggen-
heim Museum, New York, 1964, 1965-66; Vassar
College, Poughkeepsie, New York, 1964; Dallas
Museum of Fine Arts, 1965; The Byron Gallery,
The Pace Gallery, New York, 1965; Larry Al-
drich Foundation Museum, Ridgefield, Connecti-
cut, 1965; \\'orcester Art Museum, Massachusetts,
1965; University of Colorado, Boulder, 1966;
J. L. Hudson Art Gallery, Detroit, 1966; Han-
over Galler)-, London, 1966; San Francisco Mu-
seum of Art, 1966.
Mr. Trova's work is in the collections of Mr.
Richard H. Solomon, Boston; Container Cor-
poration of .-\merica. Inc., Chicago; Mr. R. Mark
Glazebrook, Mr. E. J. Power, Tate Gallery, Lon-
don; Mr. Frederick \\'eisman, Los Angeles;
Walker Art Center, Minneapolis; .Abrams Fam-
ily Collection, Mr. Richard Brown Baker, Mr.
and Mrs. .Arthur .\. Goldberg, The Solomon R.
Guggenheim Museum, Mr. Philip Johnson, Mr.
How-ard Lipman, Mr. and Mrs. .Albert List, The
Museum of Modern .Art, Mr. I. M. Pei, Mr. John
G. Powers, Mr. Robert Scull, Mr. and Mrs.
Burton Tremaine, Whitney Museum of .American
.Art, New York; Larry .Aldrich Foundation Mu-
seum, Ridgefield, Connecticut; City .Art Museum
of St. Louis, Mr. Morton D. May, Mr. Joseph
Pulitzer, St. Louis; Mr. and Mrs. Jerome Aron,
Scarsdale, New York.
89
90
/iNSLEY
WILL INSLEY, Untitled, 1964-65. Liquitex on
masonite, 80 x 80. Stable Gallen-, New York.
Will Insley was born in Indianapolis, Indiana,
in 1929. He studied at The John Herron Art
Institute, Indianapolis; at Amherst College,
Massachusetts, where he received his B.F.A. de-
gree in 1951; and at Harvard University, Cam-
bridge, where he received his Bachelor of Archi-
tecture degree in 1955.
Special exhibitions of his work have been held
at the Stable Gallery, New York, 1965, 1966.
His work has been included in group exhibitions
at the Tibor de Nagy Gallery, New York, 1965;
Whitnev Museum of American Art, New York,
1965-66; Rigelhaupt Gallery, Boston, 1966; Finch
College, Riverside Museum, The Solomon R.
Guggenheim Museum, New York, 1966. His work
is in the collection of Brandeis University,
Waltham, Massachusetts.
JONEs/
91
HOWARD JONES, Area Two, 1966. Light con-
struction, 60x98Vixl20. Royal Marks Gallery,
New York.
"I would say this only if there is a difference
between the two: Let's explore the uncertain
nature of life itself and forget about art."
(Courtesy of Art in America, Vol. LIV, No. 4,
1966, p. 30.)
Howard Jones was born in Illion, New York,
in 1922. On a four-year scholarship he studied
painting at Syracuse University, and has also
studied at Columbia University, New York; Uni-
versity of Toledo; and Cranbrook Academy of
Art, Bloomfield Hills, Michigan. Mr. Jones was
the recipient of a grant from the Graham Founda-
tion for .\dvanced Studies in the Fine .Arts, 1966.
He has taught at The Tulane University of
Louisiana, New Orleans; Florida State Univer-
sity, Tallahassee; and he presently is teaching at
Washington University, St. Louis. He lives in St.
Louis, Missouri.
Mr. Jones has received recognition in "Elected
New Talent" by Art in America magazine, 1966.
Special exhibitions of his work have been held at
the Nelson Gallery-Atkins Museum, Kansas City,
Missouri, 1965, and at the Royal Marks Gallery,
New York, 1966. In 1964-6.') his work was in-
cluded in group exhibitions at the Dallas Mu-
seum of Fine Arts; University of Florida, Gaines-
ville; The Byron Gallery, New 'Nork; H. Balaban
Carp Gallery, City Art Museum of St. Louis,
St. Louis University, Martin Schweig Gallery, St.
Louis; The Ohio State Universitv, Columbus,
1966; Royal Marks Gallery, New' York, 1966;
Larry Aldrich Foundation Museum, Ridgefield,
Connecticut, 1966; The Corcoran Gallery of Art,
Washington, D.C., 1966.
Howard Jones's work is in the collections of
Mr. and Mrs. Ralph T. Coe, Cleveland; the Nel-
son Gallery-Atkins Museum, Kansas City, Mis-
souri; Mr. Peter Tunnard, London; Mrs. Betty
Parsons, New York; Mr. and Mrs. Howard
Adams, Princeton, New Jersey; Larry Aldrich
Foundation Museum, Ridgefield, Connecticut;
Mr. and Mrs. William Eisendrath, Jr., Mr.
Morton D. May, Washington University, St.
Louis; Florida State University, Tallahas.see.
92
rattner/
93
ABRAHAM RATTNER, The Red Carpet, 1964.
Oil on canvas, 45 x 57',1'. The Downtown Gallery,
New York. (1948, 1949, 1950, 1951, 1952, 1953,
1955, 1957, 1959, 1961, 1963, 1965)
Abraham Rattner was born in Poughkeepsie,
New York, in 1895. He studied at George Wash-
ington University, Washington, D.C.; The Penn-
sylvania .Academy of the Fine Arts, Philadelphia;
and in Paris at the Academic Julian, Ecole des
Beaux Arts, Academic de la Grande Chaumiere,
and at the .■\cademie Ranson. He received a
Cresson Traveling Fellowship from The Penn-
sylvania Academy of the Fine Arts, Philadelphia,
in 1945. Mr. Rattner has taught at the New-
School for Social Research, New York, 1947-55;
The Brooklyn Museum Art School, 1950-51;
American Academy in Rome, 1951; Yale Uni-
versity, New Haven, Connecticut, 1952-53; Art
Students League of New York, 1954; The Penn-
sylvania Academy of the Fine Arts, Philadelphia,
1954; University of Illinois, Urbana, 1954-55;
Columbia University, New Y'ork, 1955-56; Mich-
igan State University, East Lansing, 1956-58;
University of Chicago, 1957; and at the Skow-
hegan School of Painting and Sculpture, Maine.
He lives in New \'ork. New York.
Mr. Rattner has received awards from The
Pennsylvania Academy of the Fine Arts, 1945,
1958, 'i960; The Philadelphia Art Alliance, 1945;
Pepsi-Cola Company, New York, 1946; Museum
of Art, Carnegie Institute, Pittsburgh, 1946, 1949;
University of Illinois, Urbana, 1950; The Cor-
coran Gallery of Art, Washington, D.C., 1953;
Temple University, Philadelphia, 1954; Chicago
Book Clinic, 1956; Michigan State University,
East Lansing, 1956; American Academy of Arts
and Letters, New York, 1958; New School for
Social Research, New York, 1960.
Special exhibitions of his woi'k have been held
at the Bonjean Galleries, Paris, 1935; Julien Lew
Gallery, New York, 1936-41; The Arts Club of
Chicago, 1940; Con Courvoisier, San Francisco,
1940; Paul Rosenberg & Company, New York,
1942-56; Santa Barbara Museum of .Art, 1943;
University of Illinois, Urbana, 1952; The Renais-
sance Society, University of Chicago, 1957; The
Downtown Gallery, New York, 1957, 1958, i960,
1964, 1966; North Shore Temple, Glencoe, Illi-
nois, 1958; The Corcoran Gallery of Art, Wash-
ington, D.C., 1958; The American Federation of
Arts, 1960-61; Galerie Coard, Paris, 1965; West-
chester .Art Association, White Plains, 1966;
Stendahl Gallery, Los Angeles; New Orleans Arts
& Crafts Club.
Mr. Rattner's work is in the collections of The
Baltimore Museum of .Art; Albright-Knox Art
Gallery, Buffalo; Krannert .Art Museum, Univer-
sity of Illinois, Champaign; The Mint Museum
of Art, Charlotte, North "Carolina; The Art In-
stitute of Chicago, Container Corporation of
America, Encyclopaedia Britannica Inc., Chicago;
Florida Gulf Coast Art Center, Clearwater; Des
Moines Art Center; Michigan State University,
East Lansing; Fort Worth Art Center; Dartmouth
College, Hanover, New Hampshire; Wadsworth
Atheneum, Hartford; Bezalel Museum, Jerusalem;
Johnson State College, Johnson, Vermont; Ne-
braska .Art .Association, Lincoln; Marquette Uni-
versity, Milwaukee; Walker Art Center, Minne-
apolis; Ball State Teachers College, Muncie,
Indiana; The Newark Museum; Yale University,
New Haven, Connecticut; The Jewish Museum,
Manufacturers Hanover Trust Company, The
Metropolitan Museum of Art, New School for
Social Research, Whitney Museum of .American
Art, New York; University of Oklahoma, Nor-
man; Musce du Jeu de Paume, Paris; The Penn-
sylvania .Academy of the Fine Arts, Philadelphia
Museum of Art, Philadelphia; Vassar College,
Poughkeepsie, New York; Washington Lhiiversity,
St. Louis; Wittc Memorial Museum, San Antonio;
Santa Barbara Museum of Art; Arizona .State
L'niversity, Tempe; Brandeis University, Wal-
thani, Massachusetts; The Phillips Collection,
Washington, D.C.; Williams College, Williams-
town, Massachusetts; Butler Institute of American
Art, Youngstown.
94
/MITCHELL
JOAN MITCHELL, Untitled, 1964. Oil on
canvas, 96 x 78. Stable Gallery, New York.
Joan Mitchell was born in Chicago, Illinois,
in 1926. She studied at Smith College, North-
hampton, Massachusetts, 1942-44; The School of
The Art Institute of Chicago, where she received
her B.F.A. in 1947; Columbia L'niversity, New
\'ork; and New York University, New York,
where she received her M.F.A. in 1950. Miss
Mitchell was the recipient of a fellowship from
The Art Institute of Chicago for study in Europe.
She lives in Paris, France.
Special exhibitions of her work have been held
at the New Gallery, New York, 1951; Stable
Gallery, New York, 1953, 1954, 1955, 1957, 1958,
1961, 1965; Galleria dell'Ariete, Milan, 1960;
Galerie Neufville, Paris, 1960; Southern Illinois
University, Carbondale, 1961; B. C. Holland Gal-
lery, Chicago, 1961; Dwan Gallery, Los .Angeles,
1961; Klipstein und Kornfeld, Berne, 1962;
Massachusetts Institute of Technology, Cam-
bridge, 1962; Galerie Jacques Dubourg, Galerie
Lawrence, Paris, 1962.
Her work has been included in group exhibi-
tions at The .Art Institute of Chicago, 1950, 1957,
1958, 1962; Whitney Museum of American Art,
New York, 1950, 1955, 1957, 1958, 1965, 1966;
University of Illinois, Urbana, 1950; Walker Art
Center, Minneapolis, 1955; The Museum of
Modern Art, New York, 1956, 1962; The Arts
Club of Chicago, 1957; The Minneapolis Insti-
tute of .Arts, 1957; Japanese International Ex-
hibition, Tokyo, 1957; The Corcoran Gallery of
Art, Washington, D.C., 1957, 1959; The Balti-
more Museum of .Art, 1958; Dallas Museum of
Fine Arts, 1958; in Kessel, Germany, 1958; Osaka,
Japan, 1958; at the Museum of Art, Carnegie In-
stitute, Pittsburgh, 1958; Rome-New York Art
Foundation, Rome, 1958; Washington University,
St. Louis, 1958; in Spoleto, Italy, 1958; at The
American Federation of Arts, New York, 1959-60;
Museu de Arte Moderna de Sao Paulo, Brazil,
1959; University of Michigan, Ann Arbor, 1961;
Birmingham Museum of Art, Michigan, 1961;
Dayton Art Institute, 1961; Yale University, New
Haven, Connecticut, 1961; The Solomon R.
Guggenheim Museum, New York, 1961; World's
Fair, Seattle, 1962; The Pennsylvania Academy
of the Fine Arts, Philadelphia, 1965-66; Flint
Institute of Arts, Michigan, 1966; Drexel Insti-
tute of Technology, Philadelphia, 1966; The
Virginia Museum of Fine Arts, Richmond, 1966.
Miss Mitchell's work is in the collections of
the Geigy Chemical Corporation, .Ardsley, New
York; Kunsthalle, Basel, Switzerland; Albright-
Knox Art Galler>', Buffalo; The .Art Institute of
Chicago; Walker Art Center, Minneapolis; Chase
Manhattan Bank, The Museum of Modern Art,
Rockefeller University, The Singer Manufactur-
ing Company, Union Carbide Corporation, Whit-
ney Museum of .American Art, New York; James
A. Michener Foundation, Pipersville, Pennsyl-
vania; The Phillips Collection, Washington, D.C.;
Worcester Art Museum, Massachusetts.
SHAPIRO/95
DANIEL SHAPIRO, Peaceful Triptych, 1966.
Acr>lic on canvas, 49 x 33. Arleigh Gallery, .San
Francisco.
"These recent acrylic paintings are expressions
of persistent symbols derived from organic forms,
and particularly from human anatomy. My con-
scious concerns are with myth, mystery, and
magic. These concerns stimulate the shapes;
chance and the unconscious determine their posi-
tions and movements."
Daniel Shapiro was born in New York, New
York, in 1920. He studied at The Cooper Union
School of Art and .Architecture, New York, 1941,
and at Columbia University, New York, 1944-46.
Mr. Shapiro was the recipient of research grants
from the University of California, Davis, 1961-66,
and a fellowship from the McDowell Colony,
1963. In 1965 he was appointed a Fellow in the
Institute of Creative Arts, University of Cali-
fornia. He has taught and lectured at Benning-
ton College, \'ermont, 1947-57; Columbia Uni-
versity, New York, 1957-59; and New York Uni-
versity, New York, 1959. Since 1959 he has
taught at the University of California, Davis, and
lived in San Francisco, California.
Special exhibitions of Mr. Shapiro's work have
been held at the Rose Rabow Gallery, San Fran-
c isco, 1962; University of California, San Fran-
cisco, 1963; Cellini Gallery, San Francisco, 1964,
1965; Arleigh Gallery, San Francisco, 1966. His
work has been included in group exhibitions at
the San Francisco Art Institute, 1962, 1963, 1964,
1965; San Francisco Museum of Art, 1962; Okla-
homa Art Center, Oklahoma City, 1963.
Mr. Shapiro's work is in the collections of Ohio
University, Athens; Olivet College, Michigan;
San Francisco .Art Institute.
96/ WARHOL
n 1^1/ 7 ?
ANDY WARHOL, Jackie, 1964. Acrylic and
silkscreen enamel on canvas; nine panels, each
20 X 16. Leo Castelli Gallery, New York.
Andy Warhol was born in Philadelphia, Penn-
sylvania, in 1930. He studied at the Carnegie
Institute of Technology, Pittsburgh. Since 1952
Mr. Warhol has lived in New York, New York.
Special exhibitions of his work have been held
at the Ferus Gallery, Los Angeles, 1962, 1963;
Stable Gallery, New York, 1962, 1964; Leo
Castelli Galler>-, New York, 1964, 1966; Galerie
Ileana Sonnabend, Paris, 1964, 1965; Galleria
Rubbers, Buenos Aires, 1965; Galerie Buren,
Stockholm, 1965; Jerrold Morris International
Gallery, Toronto, 1965; Gian Enzo Sperone Arte
Moderna, Turin, 1965.
Mr. Warhol's work has been included in group
exhibitions at the Dwan Gallery', Los .'\ngeles,
1962; Sidney Janis Gallery-, New York, 1962,
1963, 1964, 1965; Nelson Gallery-Atkins Museum,
Kansas City, Missouri, 1963; I.C.A. Gallery,
London, 1963; Oakland Art Museum, 1963;
The Solomon R. Guggenheim Museum, New
York, 1963, 1966; Galerie Ileana Sonnabend,
Paris, 1963; The Washington Gallery of Modern
Art, Washington, D.C., 1963; University of New
Mexico, .\lbuquerque, 1964; Stedelijk Museum,
Amsterdam, 1964; Louisiana Kunstmuseum,
Louisiana, Denmark, 1964; U.S. Plywood Cor-
poration, New York, 1964; Salon de Mai, Paris,
1964; Portland ."^rt Museum, Oregon, 1964; Uni-
versity of Rochester, New York, 1964; Moderna
Museet, Stockholm, 1964; Jerrold Morris Inter-
national Gallery, Toronto, 1964; Brandeis Uni-
versity, Waltham, Massachusetts, 1964; Institute
of Contemporary .Art, Boston, 1965; Palais des
Beaux-.'\rts de Bruxelles, 1965; Hamburger Kunst-
kabinett, Hamburg, Germany, 1965; Dwan Gal-
lery, Los Angeles, 1965; .American Embassy,
Paris, 1965; Worchester .Art Museum, Massachu-
setts, 1965; Lhiiversity of Texas, .Austin, 1966;
Rhode Island School of Design, Providence, 1966.
His work is represented in many public and
private collections.
97
98 ARAKAWA
iWMV'" ! '-^mi
ARAKAWA, Bottomless, 1965. Ink, oil, and
cellophane on canvas, 76 x 40. Dwan Galler>-,
New York. (1965)
"If you take Nature solely as a series of con-
nections, it falls naturally into a diagrammatic
form.
"In order to begin, make a sketch of Nature
by translating it into a 'language.' From these
words, make a diagram of the visible world. This
is part (A).
"Part (B) consists of a working diagram of the
invisible world.
"Part (C) is a diagram to determine the many
and varied connections between (A) and (B).
"The last and most important connection is
that of equalitv ( = ).
"Then, I hope: (A) + (B) = (C)."
Arakawa was born in Nagoya, Japan, in 1936.
He studied at Musashino College of Fine Arts,
Tokyo. Since 1959 he has lived in New York,
N.Y.
Special exhibitions of Arakawa's work have
been held at the Museum of Modern Art, Tokvo,
1958; Mundo Galler\-, Tokyo, 1961; Galerie Al-
fred .Schmela, Dusseldorf, 1963, 1965; Palais des
Beaux-.\rts de Bruxelles, 1964; Dwan Gallery, Los
Angeles, 1964; Galleria dell'Ariete, Milan, 1965;
\Vurttembergischer Kunstverein, Stuttgart, 1965;
Minami Gallery, Tokyo, 1965; Dwan Galler)',
New York, 1966.
.Arakawa's work has been included in group
exhibitions at the Gordon Gallery, New York,
1961; The National Museum of Art, Tokyo, 1961;
Dwan Galler)', Los Angeles, 1963; Sidney Janis
Gallery, New York, 1964; Minami Gallery,
Tokyo, 1964; Krannert Art Museum, University
of Illinois, Champaign, 1965. His work is in the
collections of Mrs. Virginia D. Kondratief, Mrs.
Joyce Schiller, Mr. and Mrs. Frederick Weisman,
Los Angeles; Mr. Leon Kraushar, New York.
•J 1 •>
QUAYTMAN/99
HARVEY QUAYTMAN, Mainechance, 1965.
Oil on canvas, 84 x 48. Royal Marks Galler)',
New York.
Harvey Quaytman was born in Far Rockaway,
New York, in 1937. He studied at .Syracuse Uni-
versity, 1955-57; at The School of the Museum
of Fine .Arts, Boston, where he was granted a
diploma with distinction, 1960; and at Tufts Uni-
versity, Boston, where he received his B.F.A.
degree, 1960. Mr. Quaytman was the recipient
of a scholarship from the New York State Board
of Regents, 1955-57; a tuition scholarship from
the Skowhegan -School of Painting and Sculpture,
Maine, 1957; a tuition scholarship and graduate
assistantship from The School of the Mu.seum
of Fine Arts, Boston, 1960; and the James
William Paige Traveling Fellowship, 1960-61. He
has also studied in Europe, mainly London,
where he experimented with mezzotint at the
Royal College of Art, London, 1961-62. He has
taught at Tufts University Alumni Center, Bos-
ton, 1959; The School of the Museum of Fine
Arts, Boston, 1960, 1962-63; Middlebury College,
Vermont, 1961; Newton Creative .Arts Center,
Massachusetts, summers 1961, 1963, 1964; Rox-
bury Latin School, Boston, 1962-63; North East
Essex College of .Art, Essex, England, 1962; .Adult
Education Program, Brookline, Massachusetts,
1963, 1964; Lowell and Winthrop Houses, Har-
vard University, Cambridge, 1963, 1964, 1965;
Commonwealth School. Boston, 1964-65. Mr.
Quaytman lives in New York, New York.
Special exhibitions of Mr. Quaytmans work
have been held at the Ward-Nasse Gallery, Bos-
ton, 1964, 1965; and at the Royal Marks Galler)-,
New York, 1966. His work has been included
in group exhibitions at the .A.I..A. Gallery, Red-
fern Gallery, London, 1962; Museum of I'^ine
Arts, Northeastern University, Stanhope Gal-
lery, Boston, 1963; University of Massachu.sctts,
Amherst, 1963; De Cordova and Dana Museum,
Lincoln, Massachusetts, 1964.
100
/mahaffey
NOEL MAHAFFEY, My Brother with Janis,
1966. Oil on canvas, 66 x 66. Oklahoma .\rt
Center, Oklahoma City.
Noel Mahafley was born in .St. .Augustine,
Florida, in 1944. He studied at the Dallas Mu-
seum of Fine .'\rts School on a scholarship and
at the Atelier Chapman Kelley, Dallas, 1959-62.
His work has been included in group exhibi-
tions at The Pennsylvania ."Academy of the Fine
.Arts, Philadelphia, 1962, 1966, and is represented
in the permanent collection of the Oklahoma Art
Center, Oklahoma City.
101
102
/Mclaughlin
JOHN McLaughlin, »9-1965, 1965. Oil on
canvas, 48 x 60. Felix Landau Gallery, Los
Angeles.
"My position is based on the assumption that
extended perception arises from response to the
relatedness of experience.
"The stark, voidal simplicity of these composi-
tions is designed to create a climate of uncom-
promised freedoin, beyond the insistence of the
particular. Thus, the neutral structure, devoid
of the objectivism of the self-cxpressionistic de-
vice, indicates that cognition of the interdepen-
dence of experience is essential to its meaning.
"We must agree that the parts constitute the
whole. Aesthetic wholeness, within the context
of epistemology, is intuitive grasp of the signifi-
cance of total experience."
John McLaughlin was born in Sharon, Massa-
chusetts, in 1898. As an artist he is self-taught
and since 1946 has devoted his time to painting.
Special exhibitions of his work have been held
at the Felix Landau Gallery, Los Angeles, 1953,
1958, 1962, 1963, 1966; The Downtown Gallery,
New York, 1955; The Pasadena Art Museum,
1956, 1963. His work has been included in group
exhibitions at the San Francisco Museum of Art,
1955, 1956; The Corcoran Gallery of Art, Wash-
ington, D.C., 1955; Cincinnati .'\rt Museum, 1956;
Walker Art Center, Minneapolis, 1956; The
Virginia Museum of Fine .Arts, Richmond, 1958;
Queens College, Belfast, 1959-60; Institute of
Contemporary Art, London, 1959-60; Los Angeles
County Museum, 1959-60; San Francisco Mu-
seum of An, 1959-60; The American Federation
of .Arts, New York, 1960-61; Amon Carter Mu-
seum of \Vestern Art, Fort Worth, 1962; Whitney
Museum of American Art, New York, 1962; The
Museum of Modern Art, New York, 1966; Mead
Corporation, San Francisco, 1966.
Mr. McLaughlin's work is in the collections of
Mr. and Mrs. Taft .Schreiber, Beverly Hills;
Los Angeles County Museum of Art; Los .Angeles
Times; Mr. Walter Hopps, The Pasadena Art
Museum, Mr. and Mrs. Robert A. Rowan, Pasa-
dena; Mr. and Mrs. Gifford Phillips, Santa
Monica, California.
OLIT5Kl/w3
JULES OLITSKI, Iron and Powder, 1966.
Acniic on canvas, 92 x TiM. Lent by Mr. and
Mrs. Henry Feiwell, Larchmont, New York.
Andre Emmerich Galler>', New York.
Jules Olitski was born in Gomel, Russia, in
1922. He studied at the National Academy of
Design, New York; Ossip Zadkine School of
Sculpture and the Academic de la Grande
Chaumiere, Paris; and at New Y'ork University
where he received his B.A. and M.A. degrees.
He has taught at C. ^V. Post College of Long
Island University, 1956-6.3, and is presently teach-
ing at Bennington College. He lives in Bennington.
Mr. Olitski has received awards from the Mu-
seum of Art, Carnegie Institute, Pittsburgh, 1961,
and the Ford Foundation, 1964. Special exhibi-
tions of his work have been held at the Gallery 8,
Paris, 1950; French & Company, Inc., New York,
1959, 1960; Poindexter Gallery, New York, 1961,
1962, 1963, 1964, 1965; Galleria Santa Croce,
Florence, 1963; Toninelli Arte Moderna, Milan,
1963; Richard Grey Gallery, Chicago, 1964;
Kasmin Gallery, London, 1964, 1965, 1966;
Galerie Lawrence, Paris, 1964; David Mirvish
Gallery, Toronto, 1964, 1965.
His work has been included in group exhibi-
tions at the Museum of .■Xrt, Carnegie Institute,
Pittsburgh, 1961; Norman Mackenzie Memorial
Gallery, Regina, Canada, 1963; San Francisco
Museum of Art, 1963; Brandeis University, Wal-
tham, Massachusetts, 1963; The \Vashington Gal-
lery of Modern .^rt, Washington, D.C., 1963;
Contemporary .'\rts A.ssociation, Houston, 1964;
Los Angeles County Museum of Art, 1964-65;
The Solomon R. Guggenheim Museum, New-
York, 1964; Art Gallery of Toronto, 1964-65;
Kunsthalle, Basel, Switzerland, 1965; Harvard
University, Cambridge, 1965; The Pasadena Art
Museum, 1965; Venice Biennale d'arte, 1966.
Mr. Olitski's work is in the collections of The
Art Institute of Chicago; The Museum of Modern
Art, New York; Chrysler Art Museum of Prov-
incetown, University of Saskatchewan, Regina.
104
i
schnackenberg/
105
ROY SCHNACKENBERG, Green Bird on Red
Background, 1966. Oil with plexiglas cast figure,
76 X 64 X 4. Main Street Galleries, Chicago.
(1965)
"When the demands of food and shelter are no
longer a pressing need, and the static of Everyday
is cleared, Man is left with himself. Faced with
the oppressive reality of his own fallibility, his
own mortality, and the absolute isolation in which
he must endure them, he can flee into dogma,
habit, insanity, or physical suicide; or he may
choose to live his life in defiance of fate.
"To live that life of defiance and to bridge that
terrible isolation by giving form and dimension to
the universality of Man's experience is the part of
the artist. He must express, in whatever medium
he is most skilled, what it is to be a human being.
The hope is that others might be enriched by this
common bond just as he was by the work of
those artists who preceded him.
"I make pictures. These pictures, when success-
ful, contain a sense of order, of independence —
and some highly arbitrary reflections of this par-
ticular point in history. I feel that the method by
which I make these pictures is of little impor-
tance; that the picture, once finished, must speak
for itself."
Roy Schnackenberg was born in Chicago, Illi-
nois, in 1934. He attended Miami University,
Oxford, Ohio, where he received a B.F..'\. degree
in 1956. He taught at the Oxbow Summer School,
Saugatuck, Michigan, in 1966. Mr. Schnacken-
berg lives in Chicago, Illinois.
Mr. Schnackenberg was the recipient of an
award from The Art Institute of Chicago, 1964.
Special exhibitions of his work have been held at
the Joachim Gallery, Chicago, 1962, and the
Main Street Galleries, Chicago, 1963, 1964. His
work has been included in group exhibitions at
The Art Institute of Chicago, 1961, 1962, 1964,
1965; Art Dealers Association of America, Inc.,
New York, 1964; Krannert Art Museum, Univer-
sity of Illinois, Champaign, 1965; and the Walker
Art Center, Minneapolis, 1966. Mr. Schnacken-
berg's work is in the collection of Mr. Robert
Mayer, Winnetka, Illinois.
■r7^
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106
/harvey
ROBERT HARVEY, French Opera Barbershop
(Walker Evans series), 1966. Oil on canvas,
48 X 48. Gump's Gallery, San Francisco.
Robert Harvey was born in Lexington, North
Carolina, in 1924. He studied at the Ringling
School of Art, Sarasota; Art Students League of
New York; San Francisco .Art Institute; and with
Louis Ribak, Taos, New Mexico. He lives in San
Francisco, California.
Mr. Harvey has received awards from the
California Palace of the Legion of Honor, San
Francisco, 1960; Marin Society of Artists, Inc.,
Ross, California, 1961, 1962; The Corcoran Gal-
lery of .Art, Washington, D.C., 1962; Western
Washington State College, Bellingham, 1963; San
Francisco Art Festival, 1963; Jack London Square
Art Festival, Oakland, 1964; The North Carolina
Museum of .\rt, Raleigh, 1964; M. Knoedler &
Company, Inc., New York, 1965.
Special exhibitions of Mr. Harvey's work have
been held at the Saidenberg Gallery, Inc., New
York, 1954; Gump's Gallerv, San Francisco, 1959,
1961, 1963, 1966; Bay Window Caller)-, Mendo-
cino, California, 1961; Eleanor Bedell, Santa Fe,
1961, 1962; La Galeria Escondida, Taos, 1962;
Terrv Dintenfass, Inc., New York, 1963; Jefferson
Gallery, La Jolla, 1964; David Stuart Callers-, Los
Angeles, 1964; Phoenix Art Museum, 1964;
E. B. Crocker .\rt Galler)', Sacramento, 1965;
Wichita Art .Association, Inc., 1965.
His work has been included in group exhibi-
tions at the Oakland Art Museum, 1960, 1961,
1963, 1964; California Palace of the Legion of
Honor, San Francisco, 1960, 1961, 1962, 1963,
1965; Marin Society of Artists, Inc., Ross, Cali-
fornia, 1961; San Francisco Museum of Art, 1961,
1965; The Denver Art Museum, 1962; Nelson
Gallery-.-Atkins Museum, Kansas City, Missouri,
1962; The North Carolina Museum of Art, Ra-
leigh, 1962, 1963, 1965; Santa Barbara Museum
of .Art, 1962; Museum of New Mexico, Santa Fe,
1962; The Corcoran Gallery of Art, Washington,
D.C., 1962; \Vestern Washington State College,
Bellingham, 1963, 1965; Phoenix Art Museum,
1963; M. H. de Young Memorial Museum, San
Francisco, 1963; San Francisco Art Festival,
1963; Jack London Square .Art Festival, Oakland,
1964, 1965; San Francisco Art Institute, 1964;
Laguna Beach .-\rt .Association, 1965; M. Knoed-
ler & Company, Inc., New York, 1965; The Vir-
ginia Museum of Fine .Arts, Richmond, 1966.
Mr. Harvey's work is in the collections of Baron
Leon Lambert, Bnissels; Mr. and Mrs. Stuart
Rowe, Davis, California; Mr. James Trittipo,
Hollywood; Mr. and Mrs. JefTrey Hayden, Lytton
Savings and Loan Association, Mr. and Mrs.
Sanford Simmons, Los .Angeles; Storm King Art
Center, Mountainville, New- York; Mrs. Mary
Roebling, New Jersey; Mr. Farley Granger, Miss
Signe Hasso, New York; M. Marcel Marceau,
Paris; Mr. and Mrs. Charles Campbell, Crown
Zellerbach, Miss Helen Heninger, Mrs. Louis
Honig, Mr. and Mrs. \'ictor Honig, Mr. and Mrs.
Bruce Walkup, San Francisco; Mr. and Mrs.
Phillip S. Hack, Scottsdale; Prince and Princess
Doan de Champassak, Tangier; The Corcoran
Gallery of .Art, \Vashington, D.C.; Mr. and Mrs.
Jack Dunne, \Vichita; ^V'ichita .Art Museum.
LILLIAN FLORSHEIM, Squares on Diagonal
with Rods, 1966. Plexiglas, 16x24x16. Main
Street Galleries, Chicago.
"Does the artist paint a picture of the chaos
in the world around him or docs he herald the
possible destruction of the world to come or does
he express his own innermost self? Probably all
three. But ni)' world, though it may be wishful,
is an orderly world and while the inventions of
the twentieth century inay have brought about
destruction and chaos, they have also made pos-
sible the use of machinery and the development
of synthetic materials.
"These materials have a fascination for me and
because their nature demands the use of geo-
metric forms they satisfy my own need for order
and serenity. Whether this is blindness or proph-
ecy, only a distant future can tell."
Lillian Florsheim was born in New Orleans,
Louisiana. She studied painting with Henry
Hensche, Provincetown, 1946-47; Rudolph
W'eisenborn, Chicago, 1948-50; and with George
Buehr, Chicago, 1948-54. In 1951 she studied
sculpture at the Institute of Design, Illinois In-
stitute of Technology, Chicago. Miss Florsheim
lives in Chicago, Illinois.
A special exhibition of Miss Florsheim's work
was held at the Main Street Galleries, Chicago,
1966. Her work has been included in group ex-
hibitions at the Denisc Rene Gallery, Paris, 1965,
and in Tel .\viv, Israel, 1965. Miss Florsheim's
work is in the collections of Mrs. Robert Mandel,
Beverly Hills; Mr. and Mrs. Alan Steinert, Cam-
bridge, Massachusetts; Mr. and Mrs. Leigh Block,
Mr. and Mrs. Roy Friedman, Mr. and Mrs.
Edwin Hokin, Chicago; Isaac Delgado Museum
of Art, Mrs. Edgar B. Stern, New Orleans.
FLORSHEIM 107
108
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VAN BUREN/ 109
RICHARD VAN BUREN, 7.amir, 1966. Fiber
glass, 40'/2x91 x88. Bykert Gallery, New York.
"Keep your hamburger red. Support black
power."
Richard Van Buren was born in Syracuse, New
York, in 1937. He studied at San Francisco State
College, The University of Mexico, and Mexico
City College. He teaches at the School of Visual
Arts, New York, and New York University. Mr.
Van Buren lives in New York, N.Y.
Special exhibitions of his work have been held
at the San Francisco Museum of Art, 1962; and
the Dilexi Gallery, San Francisco, 1964. His
work has been included in group exhibitions at
the San Francisco Museum of Art, 1964; World
House Galleries, New York, 1965; Musee Can-
tonal des Beaux-Arts, Lausanne, Switzerland,
1966; The Jewish Museum and Park Place Gal-
lery, New York, 1966.
no
/boyce
RICHARD BOVCE, Proteus Changing I, 1965.
Unique Bronze, 14". Felix Landau Gallery, Los
Angeles. (1955, 1965)
'"I am obsessed with the struggle both for and
against time, and so am concerned with the en-
during quality of certain formal ideas and the
permanence of the most traditional sculptural
media. Not paradoxically, the same concern has
invoK'ed my work with the body of m)th which
deals with the changing of form and with the
form of myth which changes according to the
needs of the culture in which it finds itself
recognized."
Richard Boyce was born in New York, New
York, in 1920. He studied painting at The School
of the Museum of Fine .Arts, Boston, and at the
Art Students League of New York. He received
the James William Paige Fellowship for painting
and the Bartlett Grant for Sculpture. He has
taught at The School of the Museum of Fine
Arts, Boston; Wellesley College, Massachusetts;
Boston University; University of California, Los
Angeles. He lives in Los Angeles, California.
Special exhibitions of Richard Boyce's work
have been held at the Boris Mirski Gallery, Bos-
ton, 1952; The Swetzoff Gallen', Boston,' 1956,
1959, 1961, 1962; Zabriskie Gallery, New York,
1961, 1962; The Alan Gallery, New York, 1963,
1965. His work has been included in group
exhibitions at the University of Illinois, Cham-
paign-Urbana, 1955, 1965; The Art Institute of
Chicago, 1960; Whitney Museum of American
Art, New York, 1963; The Pennsylvania Acad-
emy of the Fine .'^rts, Philadelphia, 1964.
His work is in the collections of the Addison
Gallery of .American Art, Andover, Massachu-
setts; Mr. Patrick B. McGinnin, Boston; Harvard
LJniversity, Cambridge; Mr. Stanley Marcus,
Dallas; De Cordova and Dana Museum, Lincoln,
Massachusetts; Mr. and Mrs. Victor Carter, Mr.
and Mrs. Eric Lidow, Los -Angeles; Mr. Yincent
.Astor, Mr. Edgar Kaufmann, Jr., Mr. Lincoln
Kirstein, Whitney Museum of .'\merican Art,
New York; Rhode Island School of Design, Provi-
dence; The Hon. William Benton, Southport,
Connecticut; Joseph H. Hirshhorn Collection,
Washington, D.C.; Wellesley College.
HARTIGAN III
r'
GRACE HARTIGAN, Mistral. 1964. Oil on
canvas, 60 x 68, Martha Jackson Gallciv, New
York. (1963)
"I have become increasingly aware of what 1
must do. Gide said an artist should want only
one thing and want it constantly. I want an art
that is not 'abstract' and not 'realistic' I cannot
describe the look of this art, but I think I will
know it when I see it.
"I have found my 'subject'; it concerns that
which is vulgar and vital in American modern
life, and the possibilities of its transcendence into
the beautiful. I do not wish to describe my
subject matter or to reflect upon it. I want to
distill it until I have its essence, then the rawness
must be resolved into form and unity; without
the 'rage for order' how can there be art?"
Grace Hartigan was born in Newark, New
Jersey, in 1922. She studied in New York with
Isaac Lane Muse, and has traveled in Europe
and Mexico. She has taught a seminar at the
University of Minnesota, Minneapolis. She lives
in Baltimore, Maryland.
Special exhibitions of Miss Hartigan's work
have been held at the Tibor de Nagy Gallery,
New York, 1951, 1952, 1953, 1954, 1955, 1957;
Chatham College, Pittsburgh, 1960; Grcs Gal-
lery, \Vashington, D.C., 1960; Museum of Art,
Carnegie Institute, Pittsburgh, 1961; Martha
Jackson Gallery, New York, 1962, 1964; Univer-
sity of Minnesota, Minneapolis, 1963; Franklin
Siden Gallery, Detroit, 1964. Her work has been
included in group exhibitions at the University
of Minnesota, Minneapolis, 1955, 1961, 1963;
TTie Museum of Modern Art, New York, 1955-
56; Museu de Arte Moderna de Sao Paulo,
Brazil, 1957; World's Fair, Brussels, 1958; in
Kassel, Germany, 1959; at the Coliseum, New
York, 1959; The Columbus Gallery of Fine
Arts, Ohio, 1960; Walker Art Center, Minne-
apolis, 1960; University of Michigan, .Xnn .Arbor,
1961; The Solomon R. Guggenheim Museimi,
New York, 1961; Mary Washington College,
Fredericksburg, Virginia, 1963; Instituto de Cul-
tura Hispanica de Madrid, 1963; Whitney Mu-
seum of American Art, New York, 1963; The
Pennsylvania Academy of the Fine Arts, Philadel-
phia, 1963; Dayton Art Institute, 1964; Flint In-
stitute of Arts, Michigan, 1964; Musee des Beaux-
Arts, Ghent, 1964; in Essex County, New Jersey,
1964; The American Federation of .Arts, New
York, 1964, 1965; World's Fair, New York, 1964;
Gertrude Kasle Gallery, Detroit, 1965; Finch
College, New York, 1965; S. C. Johnson & Son
Collection, Racine, 1965.
Miss Hartigan's work is in the collections of
The Baltimore Museum of Art; .Mbright-Kiiox
Art Gallery, Buffalo; The Art Institute of Chi-
cago; Nelson Gallery-Atkins Museum, Kansas
City, Missouri; The Minneapolis Institute of
Arts, Walker Art Center, Minneapolis; New Paltz
Museum, New Paltz, New York; The Brooklyn
Museum, The Metropolitan Museum of Art, The
Museum of Modern Art, Whitney Museum of
.Atnerican Ait, New York; Museum of Art,
Carnegie Institute, Pittsburgh; Vassar College,
Poughkeepsie, New ^'ork; Rhode Island School
of Design, Providence; The North Carolina Mu-
seum of Art, Raleigh; \Vashington University,
St. Louis; Brandeis University, Waltham, Massa-
chusetts; The Washington Gallery of Modern
Art, Washington, D.C.
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112 KIRK
JEROME F. KIRK, Big Lotus. August, 1966.
Aluminum and stainless steel, 62 x 80 x 80. Fein-
garten Galleries, Los Angeles.
Jerome F. Kirk was born in Detroit, Michigan,
in 1923. He studied at the Massachusetts Insti-
tute of Technology, Cambridge, where he re-
ceived his B.S. degree in Mechanical Engineering
and the Humanities, 1951. He lives on the Palos
Verdcs Estates, California.
Mr. Kirk has received awards from The Detroit
Institute of .Arts, 1954; Kirk-in-the-Hills Show,
Bloomfield Hills, Michigan, 1955; Birmingham
Art Center, Michigan, 1963; Hollywood Bowl
Festival of Arts, Los Angeles, 1966. Special ex-
hibitions of his work have been held at the Little
Gallery, Birmingham, Michigan, 1954, and the
Feingarten Galleries, Los Angeles, 1965, 1966.
His work has been included in group exhibi-
tions at the Detroit Artists' Market, 1952, 1953,
1954; The Detroit Institute of Arts, 1954, 1955,
1957; Bon Bazar Gallery, New York, 1954; F. B.
Arthur, Incorporated, New York, 1954; Kirk-in-
the-Hills Show, Bloomfield Hills, Michigan, 1955;
Anna \Verbe Gallery, Detroit, 1955; Whitney
Gallery, Birmingham, Michigan, 1956; Hanamura
Gallery, Detroit, 1961, 1962; Birmingham Art
Center, 1963; Orange Coast College, Costa Mesa,
California, 1965; Palos \'erdcs Art Gallery, Palos
Verdes Estates, 1965; Hollywood Bowl Festival
of Arts, Los Angeles, 1966; Laguna Beach Art
Association, 1966; Pavilion Gallery, Newport
Beach, California, 1966.
Jerome Kirk's work is represented in over one
hundred private collections.
113
JAMES JARVAISE, LL #8, 1966. Oil on
aluminum, 28x41. Felix Landau Gallery, Los
Angeles. (1953, 1957)
James Jarvaise was born in Indianapolis, Indi-
ana, in 1925. He studied at the LTniversity of
Southern California, Los Angeles, where he re-
ceived both his B.F.A. and M.F.A. degrees,
1947-52. From 1953 to 1955 he studied and
traveled throughout Europe, and in 1963, Spain.
He has taught at the University of Southern
California, Los Angeles, 1955-62, and at Occi-
dental College, Los Angeles, 1966. He lives in
Los Angeles, California.
Special exhibitions of his work have been held
at the Felix Landau Gallerv, Los Angeles, 1952,
1955, 1958, 1960, 1961, 1962, 1964; and at the
Thibaut Gallery, New York, 1961. His work has
been included in group exhibitions at the Oak-
land An Museum, 1950, 1957; Santa Barbara
Museum of Art, 1951, 1957; Seattle Art Museum,
1951; Los Angeles County Museum of Art, 1952,
1953, 1954, 1955, 1956, 1957, 1958, 1959, 1960,
1961; The Denver Art Museum, 1953, 1954,
1958; The Metropolitan Museum of Art, New
York, 1953; San Francisco Museum of Art, 1953;
University of Illinois, Urbana, 1953, 1957; The
Corcoran Gallery of Art, Washington, D.C., 1953;
The Museum of Modern Art, New York, 1959;
Museum of Art, Carnegie Institute, Pittsburgh,
1959, 1964.
Mr. Jarvaise's work is in the collections of the
Addison Gallery of American Art, Andover,
Massachusetts; Albright-Knox Art Gallery, Buf-
falo; Los Angeles County Museum of Art; The
Museum of Modern Art, New York; Museum of
Art, Carnegie Institute, Pittsburgh; Butler In-
stitute of American Art, Youngstown.
JONEs/ 115
C 7
JOHN PAUL JONES, Sentinel, 1965. Oil on
canvas, 36 x 72. Felix Landau Gallery, Los
Angeles. (1963)
John Paul Jones was born in Indianola, Iowa,
in 1924. He received his B.F.-A. degree in 1949
and his M.F.-A. degree in 19.'J1 from the Univer-
sity of Iowa. He was the recipient of a scholar-
ship from the Louis Comfort TifTany Foundation,
1931, and a fellowship from the John Simon
Guggenheiin Memorial Foundation, 1960. He
has taught at the University of Oklahoma, 1951-
52; University of Iowa, 1952-53; and the Univer-
sity of California, Los .Angeles, from 1954 to the
present. He lives in Los .Angeles, California.
Special exhibitions of Mr. Jones's work have
been held at the Des Moines Art Center, 1951;
Blanden Memorial .Art Gallery, Fort Dodge,
Iowa, 1951; Iowa \Vesleyan College, Mt. Pleas-
ant, 1951; ^V'itte Memorial Museuin, San .Antonio,
1951; University of Oklahoma, Norman, 1952;
Los .Angeles County Museum of .Art, 1954, 1965;
The Kalamazoo Institute of Arts, Michigan, 1955;
Felix Landau Gallcr\', Los .Angeles, 1956, 1958,
1962, 1964; Oakland'Art Museum, 1956; Laguna
Blanca School, Santa Barbara, 1958; Santa
Barbara Museum of Art, 1958; The Pasadena Art
Museum, 1959; Taft College, Taft, California,
1959; Galleria Cadario. Milan, 1961; .Arizona
State University, Tempe, 1962; The Brooklyn
Museum, 1963; University of Nebraska, Lincoln,
1963; University of Minnesota, Minneapolis,
1963; Terry Dintenfass Galler), Inc., New York,
1963, 1965; Container Corporation of .America,
Chicago, 1965; The Brook Street Gallery, Lon-
don, 1965.
Mr. Jones's work has been included in nu-
merous group exhibitions in the Lhiited States and
abroad. Examples of his work arc in the Krannert
.Art Museinn, University of Illinois, Champaign;
Dallas Museum of Fine Arts; Des Moines Art
Center; Michigan State University, East Lansing;
Texas Western College, El Paso; Blanden Me-
morial .Art Gallery, Fort Dodge, Iowa; The Uni-
versity of Iowa, Iowa City; The Kalamazoo In-
stitute of .Arts, Michigan; Nelson Gallery-.Atkins
Museum, Kansas City, Missouri; University of
Nebraska, Lincoln; Victoria and .Albert Museum,
London; Fred Gmnwald Collection, Los .Angeles
County Museum, Otis .Art Institute, University of
California, Los Angeles; Kansas City College,
Manhattan; Kansas State University of .Agricul-
ture and Applied Science, Manhattan; ^Valker
Art Center, Minneapolis; Iowa Wcsleyan College,
Mt. Pleasant; Ball State Teachers College,
Muncie, Indiana; The Tulane University of
Louisiana, New Orleans; The Brooklyn Mu.seum,
The Musciun of Modern .Art, The New York
Public Library, New \'ork; Oakland Art Museum,
California; Joslyn Art Museum, Omaha; Bibli-
otheque Nationale, Paris; The Pasadena Art Mu-
seum; San Diego Museum; San Francisco Mu-
seum of Art; Santa Barbara Museum of .Art;
Seattle Art Museum; Munson-VVilliams-Proctor
Institute, Utica; Library of Congress, Joseph H.
Hirshhorn Collection, National Gallery of .Art,
Washington, D.C.; Youngstown University, Ohio.
116
Schmidt/
117
JULIUS SCHMIDT, Unlitlrd, 196(5. Bronze,
34 inches hich. Marlboroiia;h-Gerson Gallcn,
Inc., New York. (1959, 1961,' 1963, 196.t)
Julius Schmidt was born in Stamford, Con-
necticut, in 1923. He studied at Oklahoma .Xgri-
cultural and Mechanical College, .Stillwater, 1950-
51; at Cranbrook Academy of Art, Bloomfield
Hills, Michigan, where he received a B.F.A. de-
gree in 1952 and an M.F.A. degree in 1955; with
Ossip Zadkine, Paris, 1953; and at the .Xccadetnia
di Belle Arti, Florence, 1954. In 1964, Mr.
Schmidt was the recipient of a John Simon
Guggenheim Memorial Foundation fellowship.
He has taught at the Cranbrook Acadetny of Art,
Bloomfield' Hills, Michigan, 1952-53, and 1962-
64; Silverniine Guild School of Art, New Canaan,
Connecticut, summers, 1953, 1954; Kansas City
Art Institute, 1954-59; Cleveland Institute of Art,
.summer, 1957; Rhode Island School of Design,
Providence, 1959-60; Universitv of California,
Berkeley, 1961-62. He lives in Bloomfield Hills,
Michigan.
Mr. Schmidt has received awards from the
Cranbrook .Academy of Art, Bloomfield Hills,
Michigan, in 1957 and 1958. Special exhibitions
of his work have been held at the Silverniine
Guild of .Artists, New Canaan, Connecticut, 1953;
Kansas City .Art Institute and .School of Design,
1956, 1960-66; Nelson Gallery-Atkins Museum.
Kansas City, Missouri, 1956; Otto Gerson Gal-
lery, New York, 1961, 1963; Santa Barbara Mu-
seum of .Art, 1961; University of California,
Berkeley, 1964; Franklin Siden Gallery, Detroit,
1964; Gertrude Kasle Gallery, Detroit, 1965; The
Arkansas .Arts Center, Little Rock, 1966; Marl-
borough-Gerson Gallery, Inc., New York, 1966;
Talladega College, Talladega, Alabama, 1966.
His work has been included in group exhibi-
tions at The Arts Club of Chicago, 1958; The
Detroit Institute of Arts, 1958; Milwaukee Art
Center, 1958; Dudley Peter Allen Memorial .Art
Museum, Oberlin, Ohio, 1958; The Pennsylvania
.Academy of the Fine Arts, Philadelphia, 1958;
Universitv of Illinois, Champaign-Urbana, 1959,
1961, 1963, 1965; The Art Institute of Chicago,
1960; The Museum of Modern Art, New York,
1960; Whitney Museum of American Art, New-
York, 1960-63; Galerie Claude Bernard, Paris,
1960; Rhode Island .School of Design, Provi-
dence, 1960; Boston .Arts Festival, 1961; Dayton
Art Institute, 1961; New School for Social Re-
search, New York, 1961; Otto Gerson Gallery,
New York, 1961-62; Museum of Art, Carnegie
Institute, Pittsburgh, 1961; Bolles Galler)-, San
Francisco, 1961; Michigan State University, East
Lansing, 1962; The Solomon R. Guggenheim
Museum, New York, 1962; San Francisco Mu-
seum of Art, 1962; Battersea Park, London, 1963;
Museu de .Arte Moderna de Sao Paulo, Brazil,
1963; Walker Art Center, Minneapolis, 1964;
University of Texas, .Austin, 1966; New School
for Social Research, New York, 1966.
Mr. Schmidt's work is in the collections of the
University of Michigan, Ann Arbor; Krannert
.Art Musuem, L'niversity of Illinois, Champaign;
The Art Institute of Chicago; The Detroit In-
stitute of .Arts; Nelson Gallcr)'-Atkins Museum,
Kan.sas City, Missouri; University of Nebraska,
Lincoln; Walker Art Center, Minneapolis; The
Museum of Modern .Art, Whitney Museum of
American .Art, New York; Washington Univer-
sity, St. Louis, Missouri.
118
/FLEMING
DEAN FLEMING, Laser's Edge, 1965. Acrylic
on canvas, 99 x 66. Park Place Gallery, New
York.
"FOR CHAMPAGNE
SIGHT!
A NIGHT'S SIGH
INTO PRISMS
INFINITIES EXCHANGE
CRYSTALLINE PRIMITIVE
PRIMAL SPLENDOR'S
CEASELESS RENDING
SENDING MESSAGES TO THE HEAD
THAT WHICH
IS
IN YOU
SPLITS
RESISTANCE DIMINISHES
LUCID OB.SERVATION
BECOMES POSSIBLE
SIGHT!"
Dean Fleming \va.s born in Santa Monica, Cali-
fornia, in 1933. He attended the San Francisco
Art Institute where he received his B.F.A. de-
gree, 1958, and M.F.A. degree, 1959. Mr. Flem-
ing has taught at the San Francisco Art Insti-
tute, 1959; State University College at Fredonia,
New York, 1961-62; and at the Carnegie Insti-
tute of Technology, Pittsburgh, 1963-64. He lives
in New York, N.Y.
Mr. Fleming was the recipient of the I. N.
Walters Award for Sculpture, 1958, and the
Richmond Annual Sculpture Prize, 1960. Spe-
cial exhibitions of his work have been held at the
Gallery 6, San Francisco, 1957; Russian Hill Gal-
lery, San Francisco, 1958; Batman Gallery, San
Francisco, 1961; Mu.seum of Art, Carnegie Insti-
tute, Pittsburgh, 1964.
His work has been included in group exhibi-
tions presented by the Oakland Art Museum,
1960; San Francisco Art Association, 1961; Park
Place Gallery, New York, 1963, 1964, 1965, 1966;
John Daniels Gallery, New York, 1964, 1965;
Jacksonville Art Museum, Florida, 1966; The
Solomon R. Guggenheim Museum, New York,
1966; Mr. J. Patrick Lannon, Palm Beach, 1966;
Larry Aldrich Foundation Museum, Ridgefield,
Connecticut, 1966.
Mr. Fleming's work is in the collections of the
Allentown Art Museum, Pennsylvania; University
of Texas, Austin; Virginia Dwan, Mr. and Mrs.
Albert List, New York University, New York;
Mr. J. Patrick Lannon, Palm Beach; Larry
Aldrich Foundation Museum, Ridgefield, Con-
necticut; and a number of others.
HINfAAN/ 119
d.76y//J
CHARLES HINMAN, Red/Black. 1964. Acry-
lic on shaped canvas, 67 x 60 x 9. Richard Feigen
Galler}-, New York & Chicago.
"Part of the goal is to reduce expression to the
most essential terms. The further the reduction,
the fewer the decisions, the more important each
one is relative to the other.
".Another part of the goal is that style be broad
enough to include all of one's artistic interests.
"My painting begins with an idea of how the
object may be constructed and the notion that
the structure can be beautiful in itself.
"Particularly important is the taut membrane-
like quality of the stretched canvas, and that the
can\as partially hides the structure. The screen
of the convoluted surface of the painting suggests
a special relationship not easily defined in terms
of geometr\'." (Courtesy of Art in America, Vol.
LIV, No. 4, 1966, p. 36.)
Charles Hinman was born in Syracuse, New
York, in 1932. He studied at Syracuse University
where he received his B.F.A. degree, and at the
Art Students League of New York, 1955-56. He
was the recipient of the .'\ugusta Hazard Fellow-
ship for Painting from Syracuse University, 1955-
56. Mr. Hinman has taught at the Staten Island
Academy, 1960-62, and at Woodmere .Academy,
1962-64.' He lives in New York, N.Y.
Special exhibitions of his work have been held
at the Richard Feigen Gallery, Chicago, 1964,
1965, 1966; Feigen/Palmer Gallcns Los Angeles,
1964; Richard Feigen Gallery, New York, 1964,
1966; Tokyo Gallery, Japan, 1966.
Mr. Hinnian's work has been included in group
exhibitions at the Goldowsky Gallery, New York,
1964; Sidney Janis Gallery, New York, 1964; The
Art Institute of Chicago, 1965, 1966; Museum of
Contemporary Art, Nagaoka, Japan, 1965; The
Museum of Modern Art, Whitney Museum of
American .Art, New York, 1965; Oberlin College,
Oberlin, Ohio, 1965; New York State University
College, Plattsburgh, New York, 1965; San Fran-
cisco Museum of Art, 1965; Up.sala College, East
Orange, New Jersey, 1966; Long Island Univer-
sity, New York, 1966; The Pasadena Art Museum,
1966; Larry Aldrich Foundation Museum, Ridge-
field, Connecticut, 1966.
Mr. Hinman's work is in the collections of the
Boise-Cascade Corporation, Boise; .Albright-Knox
.Art Gallery, Buffalo; .American Republic Insur-
ance Company, Des Moines; The Detroit Insti-
tute of Arts; Los .Angeles County Museum of .Art:
Museum of Contemporary Art, Nagaoka; Chase
Manhattan Bank. The Museum of Modern .Art,
Whitney Museum of .American .Art, New York.
120
I MUELLER
GEORGE MUELLER, Octagonal Porch, 1964.
Acrylic on canvas, 114x114. Waddell Gallery,
Inc., New York. (1955)
George Mueller was born in Newark, New
Jersey, in 1929. He studied at the Newark School
of Fine and Industrial Art and at The Cooper
Union School of Art and .Architecture, 1948-50.
Mr. Mueller was the recipient of a John Simon
Guggenheim Memorial Foundation fellowship in
1956. He lives in Long Valley, New Jersey.
Mr. Mueller has received awards from the
Dallas Museum of Fine Arts, 1957, and Brandeis
University, ^Valtham, Massachusetts, 1961. Spe-
cial exhibitions of his work have been held at
the Artists Gallery, New York, 1952; Grace
Borgenicht Gallery,' Inc., New York, 1955, 1960;
Fairleigh Dickinson LTniversitv, Madison, New
Jersey,'^1963; Grippi & Waddell', New York. 1964.
His work has been included in group exhibi-
tions at The Solomon R. Guggenheim Museum,
New York, 1955; University of Illinois. Urbana,
1955; ^Vhitnev Museum of .American .Art, New
York, 1956, 1957, 1958, 1960, 1962, 1964; Dallas
Museum of Fine .Arts, 1957; Museum of .Art,
Carnegie Institute, Pittsburgh, 1957; Rome-New
York Art Foundation, Rome, 1958; \'enice Bi-
ennale d'arte, 1958; Worcester .Art Museum,
Massachusetts, 1958; World's Fair, Brussels,
1959; The Detroit Institute of .Arts, 1959; The
Pennsylvania .Academy of the Fine .Arts. Phila-
delphia, 1960; Brandeis L'niversity, Waltham,
Massachusetts, 1961, 1964; The .American Federa-
tion of .Arts, New York. 196:^; The .Art Institute
of Chicago, 1964; World's Fair, New York, 1964;
Larry .Aldrich Foundation Museum, Ridgefield,
Connecticut, 1964.
Mr. Mueller's work is in the collections of the
.Allentown .Art Museum, Pennsylvania; The .Art
Institute of Chicago; Dallas Museum of Fine
.Arts; .American Republic Insurance Company,
Des Moines; The Newark Museum; The Solomon
R. Guggenheim Museum, Whitney Museum of
American .Art, New York; New Jersey State
Museum, Trenton.
121
122
/finkelstein
MAX FINKELSTEIN, Square Plus 200, 1966.
Aluminum construction, 34'/4 x 36 x 2. Herbert
Palmer Gallery, Los Angeles.
"The esthetics of precision is part of my way.
I like to take 'cold' metals like aluminum and
make a thing of warmth and beauty. My forms
are part of the times. The computer, sophisti-
cated machinery, automation, etc., suggest the
work. I prefer sculpture to painting because, for
me, it is closer to modem technolog)' and more
enduring.
"I have worked with metals for many years,
mostly as a machinist from blue prints. The idea
of working with metal, unrestricted and indepen-
dently as an artist, is the basis of my art interest.
"I am looking for an essential pure image that
is obviously derived from modern materials and
applications.
"To me aluminum has almost all the proper-
ties that epitomize our times; it has the poetry
of space, the computer, the new industr)- and
mass product. My work is not a multiple pro-
duction, though it has many similar parts. It is
not mass-produced, though it is mass-derived. It
is intuitive development of unitized images.
"I use a module in common « ith industry —
squares, rectangles, hexagons, and circles, and
the negative remaining space.
"Each unit of construction is carefully ma-
chined with a surface of my own design. The
rea.sons for this, aside from fascinating textur-
ologies, are that these machined surfaces refract
light, 'project' colors and add a dynamic dimen-
sion. Also machining the surfaces of the com-
ponent units gives me an infinite number of
combinations and possibilities that would not be
attainable with simply cut reflective areas."
(Courtesy of Art in America, Vol. LIV, No. 4,
1966, p. 69.)
Max Finkelstein was born in New York, New
York, in 1915. He studied at the Sculpture Cen-
ter, New York; California .School of Art, Los
Angeles; Kahn Art Institute, Los Angeles; Uni-
versity of California, Los .Angeles; and at Los
.■\ngeles City College. Since l964 he has taught
at the L'niversity of Judaism, Los .Angeles. He
li\es in Los Angeles, California.
Special exhibitions of his work have been held
at the .Xdele Bednarz Galleries, Los Angeles, 1965;
and at the Herbert Palmer Caller)', Los Angeles,
1966. His work has been included in group ex-
hibitions at The Jewish Museum, New York,
1958, 1961; Los .Angeles County Museum of Art,
1961; The American Federation of Arts, New
York, 1961-62; Municipal Art Gallery, Los
-Angeles, 1965; San Francisco Museum of Art,
1965, 1966; La Jolla Museum of Art, 1966.
Mr. Finkelsteins work is in the collections of
Mr. and Mrs. Harr) Lackritz, Chicago; Mr. and
Mrs. Howard Ahmanson, Los Angeles; Mr. S. I.
Newhouse, Jr., New York; Mr. and Mrs. Mason
Phelps, Pasadena, California.
JOHN FREEMAN, 3 Star, 1966. Laminated and
inlaid wood, 27 x 15 x 15. Royal Marks Gallery,
New York.
John Freeman was born in Walla Walla, \\'asli-
ington, in 1922. He studied at Washington State
University, Pullman, where he received the
B.F.A. and M.F.-A. degrees, and at Pratt Insti-
tute, New York, 1950-51. He tearhes at The Ohio
State University and lives in CU)lumbus, Ohio.
Special exhibitions of his work have been held
at the Akron .Art Institute; The Columbus (Jal-
lery of Fine .Arts, The Ohio State University,
Columbus; Deni.son University, Granville, Ohio;
Royal Marks Gallery, Ruth White Gallery, New-
York; Otterbcin College, Westerville, Ohio;
.\ntioch College, Yellow Springs, Ohio.
Mr. Freeman's work is in the collections of the
Columbia Museum of .Art and Science, South
Carolina; The Columbus Gallery of Fine Arts,
Ohio; The Murchison Collection, Dallas; Otter-
bein College, ^Vesterville, Ohio; and others.
freeman/
123
A
124
/ JENKINS
PAUL JENKINS, Phenomena Distant Reverber-
ation. 1966. Oil on canvas, 36x50. Martha
Jackson Gallery, New York. (1959, 1961, 1965)
"Candle lisht, sunlight, these shaped the direc-
tion in which the accustomed eye saw its reality
and created an illusion of sculptural dimension.
And now. We see and perceive differently, even
though we may continue to be accustomed in
our mind's eye to see as they saw. Our light
world is caught in refraction, interpcnetration.
.Sometimes wc really wonder if we are seeing
what we are. We perceive the .swift familiar
shifting and changing before our eyes in the
motion of our time and this is our inscrutable.
We do not see all there is to see rather what we
can perceive. We also move through tempera-
ture zones that contrast as violently and subtly as
the areas of unnatural light, with their own
silences, their own sounds which bathe us as we
are caught in llieir multiple reflections. We are
caught up in ambiguity — the adventure being
to distinguish the real universe of ourselves from
the other one we reel through; the chasms of
light outside ourselv-es which catch our own inner
light projecting from us in forms unseen, pres-
ences, radiations, invisible but felt gestures.
Goethe, with all his awareness, as he said it,
when speaking about the unfathomable before
which he too resigns himself is yet revealed to
him in the world of phenomena, not the absolute
itself, but the mirrored reflection of its majestic
remoteness." (Extract from /( h, New York,
autumn, 1958.)
Paul Jenkins was born in Kansas City, Mis-
souri, in 1923. He attended the Kansas City Art
Institute and School of Design in 1940, and the
Art Students League of New York from 1948 to
1951. He lives in^New York, N. Y.
Special exhibitions of Mr. Jenkins' work have
been held at the Zimmergaleric Franck, Frank-
furt am Main, 1954; Studio Paul Facchetti, Paris,
1954; Zoe Dusanne Gallery, Seattle, 1955;
Martha Jackson Gallery, New York, 1956, 1958,
1960, 1961, 1964, 1966; Galerie Stadler, Paris,
1957, 1959; Arthur Tooth & Sons, London, 1960,
1963; in Santa Fe, New Mexico, 1960; at Galerie
Karl Flinker, Paris, 1961, 1962; Galerie Toni-
ncUi, Milan, 1962; Thibaut Gallery, New^ York,
1962; Charles Lienhard Gallery, Zurich, 1962.
Mr. Jenkins' work has been included in group
exhibitions at the Arnaud Galerie, Paris, 1954;
Galerie Rive Droite, Paris, 1955, 1956, 1957;
Petit Palais, Paris, 1955; Spazio Gallery, Rome,
1955; Saarlandmuseum, Saarbrucken, 1955; by
the Arts Council of Great Britain, London, 1956;
at The Museum of Modern Art, New York,
1956; Galerie Stadler, Paris, 1956, 1957; Sala
Caspar, Barcelona and Madrid, 1957; Arthur
Tooth & Sons, London, 1957, 1958; \V'hitney
Museum of American Art, New York, 1957,
1958, 1961, 1963, 1964, 1965; Museum of Art,
Carnegie Institute, Pittsburgh, 1958, 1961; The
Corcoran Gallery of Art, AVashington, D.C.,
1958; University of Illinois, Champaign-Urbana,
1959, 1961, 1965; Kunsthalia, Cologne, 1959:
Osaka, Japan, 1959; in Tokyo, Japan, 1959;
Turia, Rumania, 1959; at the Esther-Robles Gal-
lery, Los Angeles, 1960; University of Minnesota,
Minneapolis, 1961; Grand Palais, Paris, 1962;
Musee National du Louvre, Paris, 1962; The Art
Institute of Chicago, 1963; The Brooklyn Mu-
seum, The Solomon R. Guggenheim Museum,
New York, 1963.
His work is in the collections of the Stedelijk
Museum, .Amsterdam; Mr. Donald Benker, Mr.
Gordon Smith, Buffalo; Busch-Reisinger Mu-
seum of Germanic Culture, Cambridge, Massa-
chusetts; Krannert Art Museum, University of
Illinois, Champaign; Mr. and Mrs. David Ander-
son, Frenchtown, New Jerse)-; Mr. Marion
Schuster, Lausanne; Mrs. Norman Laski, London;
Mrs. H. J. Mankiewicz, Los .'\ngeles; Walker Art
Center, Minneapolis; Mr. Kurt Berger, The
Brooklyn Museum, Mr. Peter Dixon, Mr. David
Ellis, The Solomon R. Guggenheim Museum,
Mr. and Mrs. David Kluger, Mr. and Mrs. B. B.
Kreisler, The Museum of Modern Art, Mr. \\'\\-
liam Tucker, Whitney Museum of .American Art,
New York; Mr. Da\id Anderson, Paris; Mr. Ed-
ward Cauduro, Portland, Oregon; Chrysler Art
Museum of Provincetown; Miss Peggy Guggen-
heim, 'Venice, Italy; Joseph H. Hirshhorn Col-
lection, Mrs. George Wheeling, Washington, D.C.
125
126/ RICHARDSON
■ 75'^ 7:-
/<
1
SAM RICHARDSON, ^^ra^^yA? t'/;, 1966. Can-
vas, oil, plexiglas, and wood, 68x95x18. The
Hansen Galleries, San Francisco.
Sam Richardson was born in Oakland, Cali-
fornia, in 1934. He attended the California Col-
lege of Arts and Crafts, Oakland, where he
received his B.A. and M.F-.A. degrees. He has
taught at the California College of Arts and
Cra'fts, Oakland, 1959-60; Oakland City College,
1959-60; and at San Jose State College'. 1963-66.
Mr. Richardson lives in Oakland, California.
Special exhibitions of his work were held at
The Hansen Galleries, San Francisco, in 1962 and
1966. His work has been included in group ex-
hibitions at the Oakland .-^rt Museum, 1962;
Richmond .Art Center, California, 1966; E. B.
Crocker .Art Gallery, Sacramento, 1966; and the
San Francisco Art Institute, 1966.
Mr. Richardson's work is represented in many
private collections in the United States.
ROBERT HARLFA' SEYLE, Nail Relief VI,
1966. Nail on wood, 30 x 48 x 2. Lent by Mr.
and Mrs. Ralph I.. .Stephens, Jr., South Gate,
California. .Ankruni Gallery, Los /Xngeles.
"My unusual use of nails and wood is not the
result of any particular effort to be different or
unique. It is rather the natural outgrowth of my
previous experience in the carpentry trade, where
I gained facility in handling the materials. I
also learned to respect these humble materials for
their honest, simple, yet powerful qualities. I
feel that as an artist I should use these materials
in a way that will enhance their qualities.
"I am not trying to communicate any precon-
ceived thought or feeling. I want my work to
reveal in itself certain basic principles of honesty
and integrity — to me the foundation of all
fine art."
Robert Seyle was born in National City, Cali-
fornia, in 1938. He studied at the Monterey Bay
.'\cadeniy, California; La Sierra College, .Arling-
ton, California; and at the Otis Art Institute of
Los Angeles County, Los Angeles, where he re-
ceived his B.F.A. and M.F.A degrees. Mr. Seyle
has been the recipient of a Ford Foundation
grant. He lives in Los Angeles, California.
Mr. Seyle's work has been included in group
exhibitions at the California Museum of Science
and Industry, Los .Angeles, 1964; .Ankrum Cal-
ler)', Otis An Institute of Los .Angeles County,
Los .Angeles, 1966. His work is in the collections
of Mr. and Mrs. Mar\'in Eisenstein, Highland
Park, Illinois; Mr. David J. Moss, Mr. and Mrs.
Willard Oppenheim, Otis Art Institute of Los
.Angeles County, Los Angeles; Mr. Peter Piening,
New York; San Pedro and Peninsula YMCA,
San Pedro, California; Mr. and Mrs. Ralph L.
.Stephens, Jr., South Gate, California.
seyle/ 12:
128
/gallo
FRANK GALLO, Love Object, 1966. Epoxy
resin reinforced with fiber glass and wood, 57 x 28.
Lent by Mr. Frank Gallo, Urbana, Illinois. Gil-
man Galleries, Chicago. (1965)
"I don't believe in art; I am not even
interested in art. I keep my work free of esthetic
judgments. For me, postures of the human figure
are potentially expressive. There is so much
concerning the figure that is heretofore unex-
amined, unfelt, and unimagined. Perhaps it
seems mundane to most artists, but to me, a
celebration of the ordinary, a passion for the
commonplace or subtleties of the incidental are
grave concerns. There arc no noble subjects. If
I were to do a figure of Jesus, I would probably
see him as Nikos Kazantzakis did, first as a timid
epileptic.
'T recognize that art is residual, noncultural
and nonvital. If art is ever to be vital again, it
will have to be as a diflferent form with a dif-
ferent name, unknown to the artists." (Courtesy
of Art in America. Vol. LIV, No. 4, 1966, p. 26.)
Frank Gallo was born in Toledo, Ohio, in
1933. He studied at The Toledo Museum .School
of Design where he received a B.F..\. degree in
1954; the Cranbrook Academy of .'\rt, Bloomfield
Hills, Michigan, in 1955; ancl The L^niversity of
Iowa, Iowa City, where he received an M.F.A.
degree in 1959. Mr. Gallo was the recipient of
a John .Simon Guggenheim Memorial Founda-
tion fellowship, 1966-67. He has taught at the
Lhiiversity of Illinois and lives in Urbana, Illinois.
Mr. Gallo has received awards from the Des
Moines Art Center, 1958, 1959, and from The
Contemporary Arts Center, Cincinnati, 1961.
Special exhibitions of his work have been held at
The Toledo Museum of .Art, 1955; Gilman Gal-
leries, Chicago, 1963, 1964, 1965; and at the
Sherry-Netherland Hotel, New York, 1964. His
work has been included in group exhibitions at
the Des Moines Art Center, 1953, 1959; The
Pennsylvania Academy of the Fine Arts, 1958,
I960; Cincinnati An Museum, 1961; Krannert
Art Museum, University of Illinois, Champaign,
1963, 1964, 1965; Louisiana State University,
Baton Rouge, 1964; The .Art Institute of Chicago,
1964; Ravinia Park, Highland Park, Illinois, 1964;
Whitney Museum of .American .Art, New York,
1964, 1965; Larry .Aldrich Foundation Museum,
Ridgefield, Connecticut, 1965-66; Butler Insti-
tute of .American Art, Youngstown, 1965; The
.Arkansas Arts Center, Little Rock, 1966; Na-
tional Institute of Arts and Letters, New York,
1966.
Mr. Gallo's work is in the collections of The
Baltimore Museum of .Art; Mr. and Mrs. Reed
Armstrong, The .Art Institute of Chicago, Mr.
and Mrs. Gordon Fletcher, Mr. Marvin Glass,
Mr. Frank Miller, Chicago; The Cleveland Mu-
seum of .Art; The University of Iowa, Iowa City;
Professor Joseph B. Dallett, Ithaca, New A'ork;
Mr. and Mrs. Abel Fagan, Lake Forest, Illinois;
Mr. Rex Harrison, London; Los .Angeles County
Museum of Art; L'niversity of Wisconsin, Madi-
son; Mr. Jaccjues Kaplan, Mr. .Albert List, The
Museum of Modern .Art, AVhitney Museum of
.American Art, New A'ork; Mr. 'Wright Ludington,
Santa Barbara; Joseph H. Hirshhorn Collection,
Washington, D.C.; Mr. Robert E. Benjamin.
129
130
/kauffman
CRAIG KAUFFMAN, Chartreuse-Red, 1965.
Acn'lic on plexiglas, 90 x 46'/2. Lent by Mr.
Philip Johnson, New Canaan, Connecticut. The
Pace Gallery, New York.
Craig Kauffman was born in Los Angeles,
California, in 1932. He studied at the University
of Southern California, Los Angeles, 1950-52, and
at the University of California, Los Angeles,
where he received an M.A. degree in 1956. He
studied and traveled in Europe and from 1960 to
1962 li\ed in Paris. Presently he lives in Venice,
California.
.Special exhibitions of Mr. KaufFman's work
have been held at the Felix Landau Galleiy, Los
.\ngeles, 1953; Ferus Gallery, Los Angeles, 1958,
1963, 1965; Dilexi Gallery, ,San Francisco, 1958,
1960. His work has been included in group ex-
hibitions at the San Francisco Museum of .•\rt,
1952, 1954, 1959, 1960, 1961; The Museum of
Modern .\rt. New York, 1953; in Los Angeles,
1955; L'uiversity of California, Los .\ngeles, 1959,
1960; L'niversitv of Illinois, Urbana, 1961; The
Pace Gallery, New York, 1965.
Mr. Kauffman's work is in the collections of
Mr. and Mrs. Donn Chappellet, Los Angeles; Mr.
Philip Johnson, New Canaan, Connecticut; Mr.
J. Patrick Lannon, The Museum of Modern Art,
Mr. Frank Stella, New York; Mr. and Mrs.
Walter Hopps, Pasadena; Larr)' Aldrich Founda-
tion Museum, Ridgefield, Connecticut.
YOUNGERMAn/ 131
JACK YOUNGERMAN, Springs, 1965. Plastic
paint on canvas, 83 x 74. The Betty Parsons
Gallery, New York. (1965)
Jack Youngerman was born in Louisville,
Kentucky, in 1926. He studied at the University
of North Carolina, Chapel Hill, 1944-46; the
University of Missouri, Columbia, where he re-
ceived his A.B. degree, 1947; and the ficole des
Beaux Arts, Paris, 1947-48. He lives in New
York, New York.
Mt. Youngerman received the "New Talent
.Xward" from Art in America magazine. New
York, 1959. Special exhibitions of his work have
been held at the Galerie .\rnaud, Paris, 1951;
The Bettv Parsons Gallerv, New York, 1958,
1960, 1961, 1964; The Museum of Modern Art,
New York, 1959; Galerie Lawrence, Pari.s, 1962;
Everett Ellin Gallery, Los Angeles, 1963; Gal-
leria dell'Ariete. Milan, 1963.
His work has been included in group exhibi-
tions at the Galerie Maeght, Paris, 1950; Galerie
Denise Rene, Paris, 1952; Gres Gallery, Wash-
ington, D.C., 1957; Museum of .Art, Carnegie In-
stitute, Pittsburgh, 1958, 1961; The Corcoran
Gallery of Art, Washington, D.C., 1959; Kimura
Gallery, Tokyo, 1960; the Art Institute of Chi-
cago, 1961; The Museum of Modern An, New
York, 1961; The Solomon R. Guggenheim Mu-
.seum. New York, 1961, 1964, 1966; Brandeis
University, Waltham, Massachusetts, 1962; in
Tokyo, Japan, 1963; at the Kranncrt Art Mu-
seum, Lfniversity of Illinois, Champaign, 1965;
\Vhitncy Museum of American Art, New York,
1965; the Bettv Par.sons Gallery, New York,
1966.
Mr. Youngerman's work is in the collections of
.Mbright-Knox Gallery, Mr. Albert L. Arcnberg,
Buffalo; The Art Institute of Chicago; Chase
Manhattan Bank, Equitable Life Assurance Build-
ing, The Museum of Modern /\rt. The Hon.
Nelson A. Rockefeller, New York; James A.
Michener Foundation, Pipersville, Pennsylvania;
S. C. Johnson & Son Collection, Racine; The
Reynolds Metals Company, Richmond, Virginia;
\V'orcester .'\rt Museum, Massachusetts.
132
r.-^r'}^. . ~.:-^:
lytle/
133
RICHARD LVri.l'., Thr Slid,. IDlili. Oil mi
canvas, 72x66. Grace Borgcnii lit (Jallciy, Inc.,
New York.
Richard Lytic was born in Albany, New York,
in 1935. He has studied at Yale University Sum-
mer School of Music and .'\rt, Norfolk, Connecti-
cut, 1954, on .scholarship; The Cooper Union
School of Art and Architecture, New York, 1955;
Cummington School of Fine Arts, 1956, on schol-
arship; and at Yale University, New Haven,
Connecticut, where he was teaching assistant to
Josef Albers and received his B.r..'\. and M.F..\.
degrees. Mr. Lytle was the recipient of a John
Simon Guggenheim Memorial Foundation fellow-
ship to Italy, 1958-59. He teaches at Yale Uni-
versity and lives in New Haven, Connecticut.
Mr. Lytle has received awards from the New
Haven Art Festival, 1958, and Art in America
magazine. New York, 1959. Special exhibitions
of his work have been held at the Grace Borgen-
icht Gallery, New York, 1961, 1963, 1964, 1966;
and at the Silvermine Guild of Artists, New
Canaan, Connecticut, 1964. His work has been
included in group exhibitions at The Brooklyn
Museum, 1956; Silvermine Guild of .'\rtists, New
Canaan, Connecticut, 1956: The .Xmerican Feder-
ation of Arts, New York, 1956; Kancgis Gallery,
Boston, 1957, 1959; The Museum of Modern Art,
New York, 1959; Galleria Schneider, Rome, 1959;
The Art Institute of Chicago, 1960, 1961; De-
Cordova and Dana Museum, Lincoln, Massachu-
setts, 1960, 1963; The Museum of Fine Arts,
Houston, 1961; Birmingham Museum of Art,
Alabama, 1962; The Pennsylvania .•\cademy of
the Fine Arts, Philadelphia, 1962, 1963, 1964;
World's Fair, Seattle, 19f)2; Whitney Museum of
American Art, New York, 1963.
Mr. Lytle's work is in the collections of Mrs.
Patrick McGinnis, Boston; DcCordova and Dana
Museum, Lincoln, Massachusetts; Yale University,
New Haven, Connecticut; Mr. Lawrence Bloedel,
Columbia University, Mr. .'Xrmand G. Erpf, Mr.
and Mrs. Frederick Gash, Mr. and Mrs. Harold
N. Gast, The Museum of Modern .\rt. The Hon.
Nelson .\. Rockefeller, New York; Mr. J. Patrick
Lannon, Palm Beach and New York; S. C. John-
son & Son Collection, Racine.
134
/bunce
LOUIS BUNCE, Two Figuration, 1966. Oil on
canvas, 48 x 60. Gordon Woodside Gallery, San
Francisco.
"Two Figuration talks about my interest in
girlie pictures, both the two-bit peep show variety
as seen in amusement emporiums and the kind
that I dig in paintings such as Courbet, Picasso,
etc. The planes running in opposition to the
canvas rectangle give it a movie screen effect as
do the colors employed. I enjoyed making this
painting and now enjoy looking at it."
Louis Bunce was born in Lander, Wyoming,
in 1907. He studied at the Museum Art School,
Portland Art Museum, Oregon, 1925-26; and at
the Art Students League of New York, 1929-30.
In I96I he received a Ford Foundation grant to
the Tamarind Lithography Workshop, Inc., Los
Angeles. Mr. Bunce has taught at the Salem Art
Center, Salem, Oregon, 1937-38; University of
California, Berkeley, 1960; University of British
Columbia, Vancouver, Canada, 1960; Univer-
sity of Washington, Seattle, 1965; and periodi-
cally since 1946 at the Museum Art School,
Portland Art Museum, Oregon. He is Visiting
Professor of Art at the University of Illinois
during the spring semester of 1967. His perma
nent residence is in Portland, Oregon.
Mr. Bunce has received awards from th(
Seattle Art Museum, 1936, 1955, 1962, 1964;
World's Fair, New York, 1939-40; World's Fair,
San Francisco, 1939; LTniversity of Washington,
Seattle, 1950; Portland ."Xrt Museum, Oregon,
1955; Portland International Airport, Oregon,
1958; San Francisco Mu.seum of Art, 1961. Spe
cial exhibitions of his work have been held ai
the Seattle Art Museum, 1936, 1953; Portland
Art Museum, 1945, 1947, 1955, 1961; Reed Col-
lege, Portland, Oregon, 1947, 1951; University ol
Washington, Seattle, 1947; Willamette Univer-
sity, Salem, Oregon, 1948; The Museum ol
Modern Art, New" York, 1950, 1951; Cincinnati
Art Museum, 1952; Doris Meltzer Gallery, New
York, 1956; University of California, Berkeley.
1960; The Fountain Gallery of Art, Portland.
Oregon, 1962, 1964, 1966; Portland State Col-
lege, Oregon, 1963; Comara Gallery, Los Angeles.
1964; Gordon Woodside Gallery, Seattle, 1964,
1966; Gordon Woodside Gallery, San Francisco,
1966; Cheney Cowles Memorial Museum, Spo-
kane, Washington, 1966.
His work has been included in group exhibi-
tions at The Art Institute of Chicago, 1947;
Worcester .Art Museum, 1949; The Metropolitan
Museum of Art, New York, 1950; Colorado
Springs Fine Arts Center, 1951, 1953, 1956, 1959,
1963; Whitney Museum of American Art, New
York, 1951, 1953, 1954, 1959, 1960; University j
of Colorado, Boulder, 1953; Los Angeles County
Art As.sociation, 1953; The Corcoran Gallery of
Art, Washington, D.C., 1953; Dallas Museum of
Fine Arts, 1954; Des Moines Art Center, 1954;
Nebraska Art Association, Lincoln, 1954; The
Pennsylvania Academy of the Fine Arts, Phila-
delphia, 1954, 1958; The Denver Art Museum,
1955, 1956, 1959, 1963; Museum of Art, Carnegie
Institute, Pittsburgh, 1955; Mu.seu de Arte
Moderna de Sao Paulo, Brazil, 1955, 1956; Santa
Barbara Museum of Art, 1957; Stanford Univer-
sity, Palo Alto, 1958; M. H. de Young Memorial
Museum, San Francisco, 1958; Grand Rapids Art
Museum, Michigan, 1961; Tamarind Lithogra-
phy Workshop, Inc., Los Angeles, 1962; Print
Council of America, New York, 1962-63; World's
Fair, Seattle, 1962; University of Arizona, Tuc-
son, 1966-67; University of Oregon, Eugene,
1966-67.
Mr. Bunce's work is in the collections of the
University of Michigan, Ann Arbor; Colorado
Springs Fine Arts Center; University of Oregon,
Eugene; The Newark Museum; American Acad-
emy of Arts and Letters, The Metropolitan Mu-
seum of Art, Whitney Museum of American Art,
New York; Philadelphia Museum of Art; Port-
land Art Museum, Reed College, Portland,
Oregon; San Francisco Museum of Art; Seattle
Art Museum, University of Washington, Seattle;
Munson-Williams-Proctor Institute, Utica; Art
Gallery of Greater Victoria, Victoria, Canada;
American Embassy, Vienna; Library of Congress,
National Gallery of Art, Washington, D.C.;
Butler Institute of American Art, Youngstown.
OKADa/ 135
p 7
KENZO OKADA, Open, 1963. Oil on canvas,
84x61'/:>. The Bettv Parsons Gallcrv, New York.
(1963)
Kenzo Okada was born in Yokohama, Japan,
in 1902. He studied at the Meijigakuin Middle
School, Japan; Tokyo Fine .Arts University; and
in Paris from 1924-27. In 1939 he received a
Ford Foundation grant. He has taught at Nippon
Universitv, Japan, 1940-42; Musashino College of
Fine .Arts. Tokyo, 1947-50; and Tama Fine Arts
College, Tokyo, 1949-50. He lives in Rensselaer-
ville. New York.
Mr. Okada has received awards from Nikakai
in Japan, 1936; .Showa Shorei, 1938; Yomiiiri
Press, 1947; The Art Institute of Chicago, 1954.
1957; Museum of .Art, Carnegie Institute, Pitts-
burgh, 1955; Columbia Museum of Art and Sci-
ence, South Carolina, 1957; Venice Bicnniale
d'arte, 1958. Special exhibitions of his work have
been held at Nichido Gallery, Tokvo, 1929; The
Bettv Parsons Gallery, New York, 1953, 1955,
1956, 1959, 1963, 1964; The Corcoran Gallery of
.\rt, Washington, D.C., 1955; Fairweather-Hardin
Gallery, Chicago, 1956; Ferus Gallery, Los
.Angeles, 1959; Massachusetts Institute of Tech-
nologv, Cambridge, 1963; .Albright-Knox Art
Gallery. Buffalo. 1965.
Mr. Okada's work has been included in many
major exhibitions and is in The Baltimore Mu-
seum of .Art; Museum of Fine .Arts, Boston; Uni-
versity of Colorado, Boulder; .Albright-Knox .Art
Gallery, Buffalo; The .Art Institute of Chicago;
Yale University, New Haven, Connecticut; The
Brooklyn Museum, Chase Manhattan Bank, The
Metropolitan Museum of .Art, The Museum of
Modern .Art, Rockefeller University, The .Sol-
omon R. Guggenheim Museum, Whitney Mu-
seum of .American .Art, New York; Museum of
Art, Carnegie Institute, Pittsburgh; Reynolds
Metals Company, Richmond, \'irginia; San
Francisco Museum of .Art; Santa Barbara Mu-
seum of .Art; Munson-Williams-Proctor Institute,
Utica; The Phillips Collection, \V'ashington, D.C.;
and manv other collections.
136
/acton
ARLO ACTON, Circle in the Sun, 1964. Wood
and painted metals, 85 x 73 x 84. The Hansen
Galleries, San Francisco.
"The cords of all link back, strandcntwining
cable of all flesh. That is why mystic monks.
Will you be as gods? Gaze in your omphalos.
Hello. Kinch here. Put me on to Edenville.
Aleph, alpha: nought, nought, one.
"Spouse and helpmate of Adam Kadmon:
Heva, naked Eve. She had no navel. Gaze. Belly
without blemish, bulging big, a buckler of taut
vellum, no, whiteheaped corn, orient and im-
mortal, standing from everlasting to everlasting."
(James Joyce, Ulysses [The Bodley Head Ltd.,
London, 1954], pp.' 34-35.)
Arlo Acton was born in Knoxville, Iowa, in
1933. He studied at Washington State Univer-
sity, Pullman, where he received a B.A. degree
in 1958, and at the San Francisco Art Institute,
where he received an M.F.A. degree in 1959.
During the spring semester of 1963 Mr. Acton
taught at the L'niversity of California, Berkeley.
He lives in San Francisco, California.
Mr. Acton has received awards from the Rich-
mond Art Center, California, 1961; and the San
Francisco Art Institute, 1961, 1963, 1964, 1965.
.Special exhibitions of his work have been held
at the Bolles Gallery, San Francisco, 1962;
Lanyon Gallery, Palo Alto, 1965. His work has
been included in group exhibitions at the Oak-
land Art Museum, 1960-61; Richmond Art Cen-
ter, California, I960, 1961, 1962; San Francisco
Museum of Art, 1960, 1961, 1962, 1963, 1964,
1965; Los Angeles County Museum of Art, 1961;
Amon Carter Museum of Western Art, Fort
Worth, 1962; Stanford University, Palo Alto,
1962; AVhitnev Museum of American Art, New
York, 1963; ' Kaiser Center, Oakland, 1963;
Musee d'Art Moderne de la V'illc de Paris, 1963;
The Arkansas Arts Center, Little Rock, 1966.
Mr. Acton's work is in the collections of Mr.
and Mrs. John Bolles, San Francisco Art Insti-
tute, San Francisco Museum of Art, San Fran-
cisco; Mr. Charles Cowells; Mr. and Mrs. Donald
Heisler; Mrs. Sally Hellyer; Mr. and Mrs.
Stanton Sobel; Mr. and Mrs. .Alfred Wastlhuber.
757
138
/marden
BRICE MARDEN, Nebraska, 1966. Oil and
wax on canvas, 58'/2 x 72. Bykert Gallery, New
York.
Brice Marden was born in Bronxville, New
York, in 1938. He studied at Boston University
from 1957 to 1961; Yale University Summer
School of Music and Art, Norfolk, Connecticut,
1961; and at Yale University, New Haven, from
1961 to 1963. He lives in New York, N.Y.
A special exhibition of his work was held at
Swarthmore College, Swarthmore, Pennsylvania,
1964. His work has been included in group ex-
hibitions at The Lyman Allyn Museum, New
London, Connecticut, 1960; Leo Castelli Gallery,
1965, Park Place Gallery, 1966, New York.
MONTE/i39
JAMES MONTE, Series E II, 1965. Acrylic and
oil on canvas, 84 x 60. Arleigh Gallery, San
Francisco.
James Monte was born in San Francisco, Cali-
fornia, in 1937. He studied with Louis Siegricst
and Thomas Leighton at the .■\rt League of Cali-
fornia, San Francisco, 1949-50; at the California
College of Arts and Crafts, Oakland, 1955;
Academie de la Grande Chaumierc, Paris, 1956,
1957; College of Marin, Kentfield, California,
1958, 1959; and at the San Francisco Art Insti-
tute, 1960. He has lectured at Lincoln Llniver-
sity, San Francisco, 1964, and Dominican College,
San Rafael, 1965. At the present time Mr. Monte
lives in San Francisco, California.
In 1964 Mr. Monte was the recipient of the
James D. Phclan award, San Francisco. Special
exhibitions of his work have been held at the
T. Taylor VVishart Gallery, San Francisco, 1961;
and at the .Arleigh Gallery, San Francisco, 1965.
His work has been included in group exhibitions
at the Bolles Gallery, San Francisco, 1961; Quay
Gallery, Tiburon, California, 1964; .Xrleigh Gal-
lery, San Francisco, 1965, 1966; Horizon Gallery,
Sau.salito, 1965.
Mr. Monte's work is in the collections of Mr.
and Mrs. Norman Matson, Boston; Mr. and Mrs.
John Irwin, Columbus, Ohio; Miss Judy Gero-
witz, Mr. and Mrs. Philip Lieder, Los Angeles;
Miss Elaine Mayes, San Francisco.
140
/thiebaud
WAYNE THIEBAUD, Two Sitting Figures, 1965.
Oil on canvas, 60 x 72. Allan Stone Gallcrv, New
York. (1965)
Wavne Thiebaud was born in Mesa, Arizona,
in 1920. He studied at Sacramento State College,
California, where he received the B..^. and M..^.
degrees. Mr. Thiebaud has been the recipient of
several awards, grants, and fellowships. He
taught at Sacramento City College in 1951, and
at the San Francisco Art Institute in 1958. He
teaches now at the University of California, Davis,
and lives in Sacramento, California.
Special exhibitions of Mr. Thicbauds work
have been held at the E. B. Crocker .^rt Gallery,
Sacramento, 1952; Gump's Gallery, San Fran-
cisco, 1953; San Jose State College, California,
1955; Sacramento City College, 1957; Allan
Stone Gallery, New York, 1962, 1963, 1964, 1965;
M. H. de Young Memorial Museum, San Fran-
cisco, 1962; Galleria Schwarz. Milan, 1963; Stan-
ford University, Palo .Alto, 1965.
Mr. Thiebauds work has been in numerous
group exhibitions including those at the Nelson
Gallery-.-\tkins Museum, Kansas City, Missouri,
1963; Institute of Contemporary .Arts, London,
1963; Los Angeles County Museum of .Art, 1963;
The Solomon R. Guggenheim Museum, New
York, 1963; Akademie der Kunste, Berlin, 1964;
The .Art Institute of Chicago, 1964; Haags
Gemeentemuseum, The Hague, 1964; Wadsworth
Atheneum, Hartford, 1964; Vancouver .Art Gal-
lery, 1964; Museum des 20 Jahrhunderts, \'icnna,
1964; Brandeis L^niversity, \\'altham, Massachu-
setts, 1964; Krannert .Art Museum, University of
Illinois, Champaign, 1965.
His work is in the collections of Mr. and Mrs.
Stephen Paine, Boston; .Albright-Knox .Art Gal-
lery, Buffalo; Mr. .Arnold Maremont, Chicago;
Wadsworth Atheneum, Hartford; The Newark
Museum; Mr. Larry .Aldrich, Mr. Richard Brown
Baker, Mr. Phillip Bruno, Mr. and Mrs. \Villiani
Copley, Mr. Philip Johnson, Mr. Leon Kraushar,
The Museum of Alodern .Art, Mr. .A. Sobel, Mr.
James Thrall Soby, Whitney Museum of .Amer-
ican .Art, Mrs. Albert Wise, Woodward Founda-
tion, Mr. Hanford A'ang, New York; Brandeis
University, Waltham, Massachusetts; Joseph H.
Hirshhorn Collection, Library of Congress, The
^Vashington Gallery of Modern Art, Washington,
D.C.; Mr. Robert Mayer, Winnetka; Mr. Harry
F. Abrams; Mrs. Bagleywright; Mr. John Bran-
stein; Mr. Carter Burden: Miss Leslie Caron:
Mr. Ben Case; Mr. John Chamberlain; Mr. John
Coplans, Mr. Boris Goldow.sky: Mr. J. Gollin;
Mr. W. Goodhue; Mr. Louis Kane; Mr. Max
Kozloff; Mr. and Mrs. Richard Robb; Dr.
William Rubin; Mr. Samuel Sacks.
141
142
/bayer
HERBERT BAYER, Suspended, 1965. Oil on
canvas, 60 x 60. Esther-Robles Gallery, Los
Angeles.
Herbert Bayer was born in Haag, Austria, in
1900. In 1919 he served as an apprentice in the
Schmidthammer design studio in Linz, Austria;
in 1920 he worked with the architect, Emanuel
Margold, in Darmstadt, Germany; from 1921 to
1923 he studied typography, and also wall paint-
ing with Kandinsky, at the Bauhaus in Weimar,
Germany. He taught typography and visual com-
munication at the Bauhaus in Dessau from 1925
to 1928; and he worked as a graphic designer,
painter, and art director in Berlin from 1928 to
1938, and in New York from 1938 to 1946. Since
that time he has served as a designer, editor, and
author. He lives in Aspen, Colorado.
Thirty-four special exhibitions of Mr. Bayer's
work have been presented here and abroad. His
work has been included in many group exhibi-
tions, and it is represented in the collections of
fifteen museums in Europe and over fifteen uni-
versities and museums in the United States.
NORMAN ZAMMITT, #3807-2, 1963. Baked
ciianiels, acrylic and phenolic plastic, 19xl8x
11 '4. Felix Landau (iailcry, Los Angeles.
Norman Zamniitt was born in Toronto,
Canada, in 1931. He studied at Pasadena City
College and at the Otis .'\rt Institute, Los
.Angeles, where he received his M.F.A. degree.
He has taught at the University of New Mexico,
.Mbuquerque, I9t)3-t)4, and at Orange Coast Col-
lege, Costa Mesa, California, 1964-66. Mr. Zam-
niitt lives in C'alifornia.
.Special exhibitions of Mr. Zamniitt's work
have been held at the Felix Landau Gallery, Los
.■\ngcles, 1962, 1966; and at the Robert Schoel-
kopf Gallery, New ^'ork, 1963. His work has
been included in group exhibitions at The Mu-
seum of Fine .Arts, Houston; .St. Thomas L'niver-
sity, Houston; Robert F"raser Gallery, London;
Los Angeles County Museum of Art; The Mu-
seum of Modern .Art, World's Fair, New York,
1965; The Pasadena .Art Museum.
Mr. Zamniitt's work is in the collections of Dr.
and Mrs. Leonard .Asher, Mr. and Mrs. Charles
Ducommun, Dr. and Mis. Omar Farced, Dr.
Louis Heyn, Los Angeles; Mr. Robert Q. Lewis,
Mr. Jerome Zipkin, New York; Larry Aldrich
Foundation Museum, Ridgefield, Connecticut;
Mr. Sterling Holloway, South Laguna, California.
ZAMMITT / 143
z z^":^
lU
adler/m5
SAMUEL M. ADLER, Construction with 5
Figures, 1966. Wood and oil, 40 x 78 x 4%. Lent
by Mr. Samuel M. Adler, New York. (1950,
1951, 1952, 1953, 1955, 1957, 1959, 1961, 1963,
1965)
"For years I had loyed with the idea of try-
ing my hand at sculpture, but my involvement
with paintings and collage made it difficult for
me to tear myself away for a new and untried
venture — lack of courage, too, may have played
a part.
"After my last collage show, however, the idea
really took hold — it seemed a logical step for-
ward, and I took the plunge.
"It proved a difficult and completely fasci-
nating challenge and I set about perfecting the
necessary technique.
"My piece Construction with 5 Figures is but
one of a number now ready for exhibition and I
can only hope that I have added somewhat to
the general dimension of my former work."
Samuel Adler was born in New York, New
York, in 1898. He was admitted to the National
Academy of Design by special dispensation at
the age of fourteen. He devoted his early years
to both music and painting, supporting himself
as a violinist until 1927 when he turned to paint-
ing as a full-time profession. Mr. Adler taught
drawing and painting privately from 1936 to
1950. He was Visiting Professor of Art at the
University of Illinois, Urbana, 1959-60; and
Visiting Professor of Art and Associate Member
of the Center for Advanced Study, University of
Illinois, Urbana, 1964. In 1965 as the Artist
in Residence at the University of Notre Dame,
Indiana, he received a Ford Foundation grant.
Since 1948 he has taught at New York Univer-
sity. He has been guest lecturer at the University
of Michigan, Ann .Arbor; Illinois Wesleyan Uni-
versity, Bloomington; The Museum of Modern
Art, New '^'ork University, New York; Washing-
ton L^niversity, St. Louis; and at Syracuse Uni-
versity. He lives in New York, New York.
Mr. Adler has received special awards from
The Pennsylvania Academy of the Fine Arts,
Philadelphia, 1951; Whitney Museum of .Ameri-
can Art, New York, 1952; University of Illinois,
Urbana, 1952; Audubon Artist.s, Inc., New York,
1956, 1957, 1959, 1960; Staten Island Institute
of Arts and Sciences, New York, 1962.
Special exhibitions of his work have been held
at the Joseph Luyber Galleries, New York, 1948;
Indiana University, Bloomington, 1950; Louis-
ville .-\rt Center, 1950; The Mint Museum of Art,
Charlotte, North Carolina, 1951; Grace Bor-
genicht Gallery, Inc., New "i'ork, 1952, 1954; The
Philadelphia Art .Alliance, 1954; University of
Illinois, Champaign-Lhbana, 1960, 1964; Grand
Central Moderns, New ^■ork, 1960; Babcoek Gal-
leries, New York, 1962; Rose Fried Gallery, New
York, 1965; University of Notre Dame, Indiana,
1965; The University of Iowa, Iowa City, 1966.
His work has been included in group exhibi-
tions at the Birmingham Museum of Art, Ala-
bama; Museum of Fine Arts, Boston; Palais des
Beaux-Arts de Bruxelles; University of Illinois,
Champaign-LTrbana; The .Art Institute of Chi-
cago; Cincinnati Art Museum; Columbia Mu-
seum of Art and Science, South Carolina; The
Columbus Gallery of Fine Arts, Ohio; Dallas
Museum of Fine Arts; Davenport Municipal Art
Gallery, Iowa; Dayton Art Institute; The Denver
Art Museum; Des Moines Art Center; Michigan
State University, East Lansing; Grand Rapids
Art Museum, Michigan; Art Galleiy of Hamil-
ton, Canada; Palais des Beaux-Arts, Lille,
France; DeCordova and Dana Museum, Lincoln,
Massachusetts; Nebraska Art Association, Lin-
coln; Royal Academy of Art, London; Los
Angeles County Museum of Art, Lhiiversity of
California, Los Angeles; The J. B. Speed Art
Museum, Louisville; The Currier Gallery of Art,
Manchester, New Hampshire; American Acad-
emy of Arts and Letters, Audubon Artists, Inc.,
Hunter College, The Jewish Museum, The
Metropolitan Museum of Art, New York Uni-
versity, Whitney Museum of American Art, New
\'ork; Stanford University, Palo Alto; Musee
d'Art Moderne de la Ville, Musee Galliera, Paris;
The Pennsylvania Academy of the Fine Arts,
Philadelphia Museum of Art, Philadelphia;
Phoenix Art Museum; Rhode Island School of
Design, Providence; The Virginia Museum of
Fine Arts, Richmond; Palazzo \'enezia, Rome;
City Art Museum of St. Louis; California Palace
of the Legion of Honor, San Francisco Museum
of Art; Santa Barbara Museum of Art; Uni-
versity of W'ashington, Seattle; Syracuse Univer-
sity; The Art Galleiy of Toronto; The Corcoran
Gallery of Art, Washington, D.C.; Butler Insti-
tute of American Art, Youngstown.
Mr. Adier's work is in many collections includ-
ing that of the Krannert Art Museum, University
of Illinois, Champaign; Florida Gulf Coast Art
Center, Clearwater; New York University, Staten
Island Institute of Arts and Sciences, Whitney
Museum of American Art, New York; Norfolk
Museum of Arts and Sciences; University of
Notre Dame, Indiana; S. C. Johnson & Son Col-
lection, Racine; Glicenstcin Museum, Safad,
Israel; Munson-Williams-Proctor Institute, LItica;
Joseph H. Hirshhorn Collection, Wa.shington,
D.C.; Butler Institute of American Art, Ohio.
146 TOVISH
HAROLD TOVISH, Passage, 1964. Bronze,
40x35x16. Terry Dintenfass, Inc., New York.
(1959, 1961)
Harold Tovish was born in New York, New
York, in 1921. He studied at Columbia Uni-
versity, New York, 1940-43; Ossip Zadkine
School of Sculpture, Paris, 1949-50; and at the
Academic de la Grande Chaumiere, Paris, 1950-
51. He has taught at the New York State Col-
lege of Ceramics, 1947-49; University of Minne-
sota, 1951-54; and at The School of the Museum
of Fine Arts, Boston, 1957-65. In 1965 Mr.
Tovish was elected as Sculptor in Residence at
the American Academy in Rome. He now lives
in Brookline, Massachusetts.
Mr. Tovish has received awards from the
Village Art Center, New York, 1946; ^Valker Art
Center, Minneapolis, 1951; The Minneapolis In-
stitute of Arts, 1952, 1954; Boston Arts Festival,
1957, 1959, 1964; Portland Art Museum, Oregon,
1957, 1958; Institute of Contemporar)- Art, Bos-
ton, 1959; American Academy of Arts and
Letters, New York, 1960.
Special exhibitions of his work have been held
at the Walker An Center, Minneapolis, 1953;
The Swetzoff Gallery, Boston, 1957, 1960; Fair-
weather-Hardin Gallery', Chicago, 1960; Terry
Dintenfass, Inc., New York, 1965. His work has
been included in group exhibitions at The Metro-
politan Museum of Art, New York, 1942; Village
Art Center, New York, 1946; The Toledo Mu-
seum of Art, 1947; \Vichita Art Association, Inc.,
1948; Walker .Art Center, Minneapolis, 1951;
The Minneapolis Institute of Arts, 1952, 1954;
Whitney Museum of American Art, New York,
1952, 1954, 1957, 1960, 1964; San Francisco Mu-
seum of Art, 1952; The Denver Art Museum,
1955; Boston Arts Festival, 1957, 1958, 1959,
1963, 1964; Portland Art Museum, Oregon, 1957;
The Solomon R. Guggenheim Museum, New
York, 1958, 1960; Museum of Art, Carnegie In-
stitute, Pittsburgh, 1958; University of Illinois,
Champaign-Urbana, 1959, 1961; The Art Insti-
tute of Chicago, 1959, 1960; The Museum of
Modern An, New York, 1959; Museum of Fine
.•\rts, Boston, 1964; DeCordova and Dana Mu-
seum, Lincoln, Massachusetts, 1964; The .Amer-
ican Federation of Arts, New York, 1964.
Mr. Tovish's work is in the collections of the
Addison Gallery of .American Art, Andovcr,
Massachusetts; Mr. and Mrs. Lester Dana, Mu-
seum of Fine .Arts, Boston; The .Art Institute of
Chicago; Mr. and Mrs. John Cowles, The Minne-
apolis Institute of .Arts, Walker Art Center, Min-
neapolis; The Solomon R. Guggenheim Museum,
Mr. and Mrs. Edwin Stone, Whitney Museum of
American Art, New York; Joseph H. Hirshhorn
Collection, Washington, D.C.; Mr. and Mrs.
Heyward Cutting; Mr. and Mrs. Robert Gardner.
I
rivers/m?
LARRY RI\ER.S, Don't Fall, 1966. Oil, plastic,
ind metal with neon light, mounted on wood
1 onstriiction, 92x62. Marlborough-Gerson Gal-
lery, Inc., New York. ( 1959, 1963)
Larr)' Rivers was born in New York, New
York, in 1923. He studied at the Julliard School
of Music, New York, 1944-45; New York Univer-
sity, New York, 1947-48; and spent two years
studying with Hans Hofman in New York. He
lives in New York, New Y'ork.
Mr. Rivers received special awards in exhibi-
tions at The Corcoran Gallery of Art, Washing-
ton, D.C., 1954, and in .Arts Festivals at Newport,
Rhode Island, and Spoleto, Italy, in 1958.
.Special exhibitions of his work have been held
at the Jane Street Gallerv, New York, 1949;
Tibor de Nag>- Gallerv, New Y'ork, 1951, 1952,
1953, 1954, 1958, 1959, 1960, 1962; Stable Gal-
lery, New York, 1954; Dwan Gallery, Los
.\ngeles, 1960, 1965; Martha Jackson Gallery,
New York, 1960; Gimpel Fils Gallery, London,
1962; Rive Droite Gallery, Paris, 1962; The
Minneapolis Institute of Arts, 1965-66; The
Jewish Museum, New York. 1965-66; The Pasa-
dena Art Museum, 1965-1966; Brandeis Uni-
\ersity, VValtham, Massachusetts, 1965-66.
Mr. Rivers' work has been included in group
exhibitions at the Whitnev Museum of .American
Art, New York, 1954, 1955, 1956, 1957, 1958,
1960, 1961, 1963, 1964, 1965, 1966; The Museum
of Modern .Art, New York, 1956; Museu de .Arte
Moderna de Sao Paulo, Brazil, 1957; Museum of
.Art, Carnegie Institute, Pittsburgh, 1958, 1961;
in Mexico, 1960; at the World's Fair, Seattle,
1962; The Pennsylvania .Academy of the Fine
.Arts, Philadelphia, 1963; Univ'ersity of Texas,
.Austin, 1966; Herron Museum of Art, Indian-
apolis, 1966; L'niversity of \Vestern Ontario, Lon-
don, Canada, 1966; .San Francisco Museum of
Art, 1966.
Mr. Rivers' work is in the collections of The
.\rt Institute of Chicago; Kansas City .Art Insti-
tute and School of Design, Missouri; Tate Gal-
ler>-, London; The Minneapolis Institute of Arts;
The Metropolitan Museum of .Art, The Museum
of Modern .Art, Parrish .Art Museum, New York;
Rhode Island School of Design, Providence; The
North Carolina Museum of Art, Raleigh; Mun-
son-Williams-Proctor Institute, Utica; The Cor-
coran Gallery of Art, Washington, D.C.
148 OSTLIHN
BARBRO OSTLIHN, Erik's House, 1965. Oil
on canvas, 89 x 57. Tibor de Nagy Gallery, New
York.
Barbro Ostlihn was born in Stockholm,
Sweden, in 1930. From 1954 to 1959 he studied
at the Royal .Academy of Fine Arts, Stockholm.
Mr. Ostlihn was the recipient of a study grant
from the Foundation of King Gustaf Adolf of
Sweden in 1961. He now lives in New York,
New York.
Special exhibitions of Mr. Ostlihn's work have
been held at Cordier & Eckstrom, Inc., New
York, 1963; Tibor de Nagy Gallery, New York,
1966. His work has been included in several
group exhibitions in Stockhohn, and at The
Westmoreland County Museum of Art, Greens-
burg, Pennsylvania, 1966.
Mr. Ostlihn's work is in the collections of Mr.
Frederick Ossorio, Mr. Robert Rauschenberg,
New York; and the Moderna Museet, Stockholm.
149
W^ffmmimrr'?^^^^
I
150
/savage
W. LEE SAVAGE, Automobile, 1966. Oil on can-
vas, 60 X 60. Krasner Gallery, New York.
"Most of the time during the past seven years
I have labored fairly happily in the soap pits of
Madison Avenue to pay for the privacy of my
picture making. In that seven years I was able
to isolate in my paintings some of the inklings
that were inside me and to make explicit to
myself (and to some others) what my entrails
were capable of. I had freed myself somewhat
from an external authority and was able to
grapple with some of the responsible internal
absurdities that make painting worthwhile.
Whether the paintings themselves are in fashion
or out of fashion, I found out, is completely
beside the point. I found out also that the
critical authority is a happy bunch of flies kick-
ing around in an aesthetic marmalade and that
posterity can sometimes be a liar. I realized that
what once had been in me an enormous responsi-
bility to -BE A PAINTER" had changed in that
seven years to an inward responsibility to simply
paint my own pictures. The pictures improved;
the absurdities were my own. I had found at
least some of my responsibilities.
"I paint for the same reason I splash in the
bathtub. Like splashing you don't have to do it
if you don't want to; nobody asked you to paint.
You just do, knowing that the only thing that
is important is that which is inherent in the
painting itself. The artist has the moral cre-
ative responsibility to make the painting that he
is presently working on be the greatest picture
that has ever been painted. The struggle is in-
ternal. Grappling creatively with externals is
commercial art (or bad art). Commercial art
is only the choice of solution; the solving of a
given external problem. Fine art is the choice
of problem AND the choice of solution. The
artist must isolate the problem from an infinity
of problems and then solve it from an infinity
of solutions. The problem he isolates is his re-
sponsibility (and his style) and the solution of
that problem is his art. The absurdity of art is
that it is worthless, i.e., priceless. I am committed
to my responsibilities and involved with its ab-
surdities. . . ."
Lee Savage was born in Charleston, West Vir-
ginia, in 1928. He studied at West Virginia
University, Morgantown, 1946-48; the Pratt Insti-
tute, New York, 1948-50; and the Art Students
League of New York. Mr, Savage is the recipient
of a fellowship from the John .Simon Guggenheim
Memorial Foundation. He has taught at the
School of \'isual Arts, New York. He lives in
New York, New York.
Special exhibitions of Mr. Savage's work have
been held at the Krasner Gallery, New York,
1961, 1962, 1964, 1966. His work has been rep-
resented in group exhibitions at the University
of Colorado, Boulder; Silvermine Guild of Artists,
New Canaan, Connecticut; The Metropolitan
Museum of Art, Whitney Museum of American
.\rt. New York; The Pennsylvania Academy of
the Fine Arts, Philadelphia; Butler Institute of
.American Art, Youngstown.
Mr. Savage's work is in the collections of the
Container Corporation of America, Inc., Chicago;
Columbia Museum of .Art and Science, South
Carolina; The Lyman Allyn Museum, New Lon-
don, Connecticut; New York University, Whitney
Museum of American An, New York; Chrysler
.-Art Museum of Provincetown; Joseph H. Hirsh-
horn Collection, Washington, D.C.; Butler Insti-
tute of .'\merican Art, Youngstown.
NESBITT/ 151
LOWELL NESBITT, BMc Grove Plantation,
1966. Oil on canvas, 65x85. Rolf Nelson Cal-
ler)', Los Angeles.
"Sunday afternoons, first by myself, later with
Lilo Raymond, a photographer friend, I explored
the empty streets of South Broadway from 14th
Street to the Battery. I was very moved by the
mysterious beauty and sense of presence that these
1870-90's loft buildings have. This led to a photo-
graphic essay as 'sketches" for an architectural
series of paintings.
"The frontality and symmetry of the images,
and the fact that they are pressed so close to the
picture plane, give the paintings an iconic quality.
This explains to a great extent their stability,
poise, and presence.
"Like bas-relief sculpture or like certain Ren-
aissance sculpture designed to be seen in niches,
my images imply depth but remain strongly two-
dimensional. One feels that true depth exists
behind these paintings — possibly in front — bul
if these forms were viewed from the side they
would evaporate. Any .sense of spaciousness must
certainly be derived from the image itself."
(Courtesv of Art in Amrrica, Vol. LIV, No. 4,
1966, p. 47.)
Lowell Nesbitt was born in Baltimore, Mary-
land, in 1933. He studied at the Tyler School
of Fine .Arts of Temple University, Philadelphia,
and at the Royal College of Art, London. From
1961 to 1963 he taught at The Baltimore Museum
of Art. He lives in New York, N.Y.
Special exhibitions of Mr. Nesbitt's work have
been held at The Baltimore Museum of Art,
1958; Franz Bader Gallery, Washington, D.C.,
1963; The Corcoran Gallery of An, Washington,
D.C., 1964; The Rolf Nelson Gallery, Los
Angeles, 1965-66; Howard Wise Gallery, New
York, 1965; The Henri Gallery, Washington,
D.C., 1965; Gertrude Kasle Gallery, Detroit,
1966.
Mr. Nesbitt's work is in the collections of The
Baltimore Museum of .Art; The Museum of
Modern Art, New York; The Corcoran Gallery of
.Art, Library of Congress, The Phillips Collection,
Washington, D.C.
152
/MOTHERWELL
ROBERT MOTHERWELL, Untitled, 1966.
Acrylic on canvas, 66 x 50. Marlborough-Gerson
Gallery, Inc., New York. (1949, 1950, 1951,
1952, 1953, 1955, 1965)
Robert Motherwell was born in Aberdeen,
Washington, in 1915. He studied at Stanford
University, Palo Alto, where he received an A.B.
degree in 1937; at Harvard University, Cam-
bridge; at the University of Grenoble, France;
and at Columbia University, New York. Mr.
Motherwell has taught at Hunter College, New
York; the University of Pennsylvania, Phila-
delphia; and is presently the visiting critic at
Columbia University. He lives and works in New
York and in Provincetown, Massachusetts.
Mr. Motherwell was the recipient of an award
from The Solomon R. Guggenheim Museum,
New York, 1964. Special exhibitions of his work
have been held at the Art of This Century Gal-
lery, New York, 1944; Chicago Arts Club, 1946;
Samuel M. Koontz Gallery, Inc., New York, 1946,
1947, 1949, 1952; San Francisco Museum of Art,
1946; Oberlin College, Ohio, 1953; Sidnev Janis
Gallery, New York, 'l957, 1959, 1961, 1962; Ben-
nington College, Vermont, 1959; Galerie Berg-
gruen, Paris, 1961; Museu de Arte Moderna de
Sao Paulo, Brazil, 1961; Galerie der Spiegel,
Cologne, 1962; The Pasadena Art Museum, 1962;
Galleria Ody,ssia, Rome, 1962; Massachusetts
Institute of Technology, Cambridge, 1963; Smith
College, Northampton, Massachusetts, 1963; The
Museum of Modern An, New York, 1965-66; The
Phillips Collection, Washington, D.C., 1965.
Mr. Mothenvell's work has been shown in
many group exhibitions including those at the
University of Illinois, Champaign-Urbana, 1949,
1950, 1951, 1952, 1953, 1955, 1965; Museu de
.%te Moderna de Sao Paulo, Brazil, 1951, 1953;
in Kassel, Germany, 1959, 1964; at the Museum
of Art, Carnegie Institute, Pittsburgh, 1961, 1964;
Tate Gallery, London, 1964; The Solomon R.
Guggenheim Museum, New York, 1964; Whitney
Museum of American Art, New York, 1965; San
Francisco Museum of Art, 1966.
His work is in the collections of the Addison
Gallery of American .'^rt, Andover, Massachusetts;
The Baltimore Museum of Art; Bennington Col-
lege, Vermont; Albright-Knox Art Gallery, Buf-
falo; Harvard University, Cambridge; Kranncrt
Art Museum, LTniversity of Illinois, Champaign;
The Cleveland Museum of Art; Blandon Memo-
rial Art Gallery, Fort Dodge, Iowa; The Museum
of Fine Arts, Houston; University of Nebraska,
Lincoln; Lfniv-ersity of Minnesota, Minneapolis;
Yale LIniversity, New Haven, Connecticut; The
Brooklyn Museum, The Metropolitan Museum of
Art, The Museum of Modern Art, New York
University, Whitney Museum of American Art,
New York; Smith College, Northampton, Massa-
chusetts; Brown University, Providence, Rhode
Island; The North Carolina Museum of Art,
Raleigh; Museu de Arte Moderna, Rio de
Janeiro; Washington University, St. Louis; Tel
Aviv Art Museum, Israel; The Art Gallery of
Toronto; Peggy Guggenheim Foundation, Venice;
Smithsonian Institution, Washington, D.C.; Nor-
ton Gallery and School of Art, West Palm Beach.
153
154
/porter
FAIRFIELD PORTER, Elizabeth, 1965. Oil on
canvas, 48 x 24. Tibor de Nagy Gallery, New
York.
Fairfield Porter was born in Winnetka, Illinois,
in 1906. He studied at Harvard University, Cam-
bridge, and at the Art Students League of New
York with Bordman Robinson and Thomas Hart
Benton. He lives in .Southampton, Long Island,
New York.
Special exhibitions of his work have been held
at the Tibor de Nagy Galien,', New York, 1953,
1954, 1955, 1956, 1957, 1958, 1959, 1960, 1961,
1962, 1963, 1964, 1965, 1966; Rhode Island
.School of Design, Providence, 1959; Southern
Illinois University, Carbondale, 1964; University
of .-Xlabama, Tuscaloosa, 1964; The Cleveland
Museum of Art, 1966.
Many group exhibitions of his work have been
held including those at the Dayton .Vrt Institute.
1961; Yale L'niversity, New Haven, Connecticut,
1961-62; The Museum of Modern .Art, New
York, 1961; Whitney Museum of American Art,
New York, 1961, 1962, 1963, 1964; National Insti-
tute of .Arts and Letters, New York, 1962; The
Pennsylvania .Academy of the Fine Arts, Philadel-
phia, 1962; University of Nebraska, Lincoln,
1963; Colby College, VVaterville, Maine, 1963.
Mr. Porter's work is in the collections of the
^Vads^^orth .Atheneum, Hartford; Mr. Lawrence
Bloedel, Mr. .Arthur Buliowa, Chase Manhattan
Bank, Mrs. .Austin List. The Museum of Modern
.\rt. Mr. David Rockefeller, Mr. Paul Roebling,
\\liitney Musciun of .American .Art, Mr. David
Workman, New ^'ork; Joseph H. Hirshhorn Col-
lection, ^Vashington, D.C.
HELIKER/l5i
JOHN HELIKER, Slill Life icith Sunar Howl,
1965. Oil on canvas, 4014 x 40. Kraushaar Gal-
leries, New York. (1948, 1949, 1950, 1953, 1955,
1961)
John Heliker was born in Vonkers, New York,
in 1909. He studied for two years at the Art
Students League of New York with Boardman
Robinson, Kenneth Hayes Miller, and Kinion
Nicholaides. In 1948 he received a Prix de Rome;
in 1951, a fellowship from the John Simon
Ciuggcnheim Memorial Foundation; and in 1966,
an honorary degree from Colby Oollege, Water-
ville, Maine. He has taught at the Colorado
Springs Fine Arts Center and presently is teach-
ing at Columbia University. He lives in New
York, N.Y.
Mr. Heliker has received awards from The
Corcoran Gallery of Art, Washington, D.C., 1941
National Academy of Design, New ^'ork, 1948
American Academy of Arts and Letters, New
York, 1957; Ford Foundation, New York, 1960,
1961; New York State Exposition, 1963.
Numerous special exhibitions of Mr. Heliker's
work have been held and his work has been in-
cluded in group exhibitions at the L'niversitv of
Illinois, Champaign-Urbana, 1948, 1949, 1950,
1953, 1955, 1961; The Arts Club of Chicago,
1954; \Vhitnev Museum of .American Art, New-
York, 1955, 1964, 1966; World's Fair, Brussels,
1958; Cincinnati Art Museum, 1966; The Vir-
ginia Museum of Fine Arts, Richmond, 1966;
and at The Art Institute of Chicago; The Metro-
politan Museum of Art, New ^■ork; The Pennsyl-
vania Academy of the Fine Arts, Philadelphia;
Museum of .Art, Carnegie Institute, Pittsburgh.
Mr. Helikers work is in the collections of
Atlanta University; Illinois Wcslyan University,
Bloomington; Harvard University, Cambridge;
Kranncrt Art Museum, University of Illinois,
Champaign; The Art Institute of Chicago; Flor-
ida Gulf Coast Art Center, CHcarwater; The
Cleveland Museum of Art; Colorado Springs
Fine Arts Center; University of Miami, Coral
Gables; Dcs Moines Art Center; Arizona .State
College, Flagstaff; Wadsworth Athcneum, Hart-
ford; Commerce Trust Company, Nelson Gallery-
Atkins Museum, Kansas City, Mis.souri; Univer-
sity of Nebraska, Lincoln; The Currier Gallery
of .Art, Manchester, New Hampshire; AValker
.•\rt Center, Minneapolis; Storm King .Art Center,
Mountainville, New York; New Britain Museum
of American Art, Connecticut; The Brooklyn
Museum, Encyclopaedia Britannica, Inc., The
Metropolitan Museum of Art, The New York
Hospital, \\hitney Museum of American .\rt.
New York; University of Notre Dame, Notre
Dame, Indiana; the Philadelphia Museum of Art,
The PennsyKania .\cademy of the Fine .Arts,
Philadelphia; Rhode Island School of Design,
Providence; S. C. Johnson & Son Collection,
Racine; San Francisco Museum of Art; Telfair
.Academy of Arts and .Sciences, Savannah; Mun-
son-Williams Proctor Institute, Utica; The Cor-
coran Gallery of Art, ^Voodward Foundation,
Washington, D.C.; Wichita Art Museum.
156
dechar/
157
PETER DECHAR, Pears, 1966. Oil on canvas,
54 X 72. Lent by The Museum of Modern Art,
New York, Larry Aldrich Foundation Fund. Cor-
dier & Eclistrom, Inc., New York.
Peter Dechar was born in New York, New
^'ork, in 1942 and presently resides in that city.
His work is in the collections of Mr. Arne
Ekstrom, New York; the Chrysler Art Museum of
Provincetown; and Mr. Zachary Scott.
158
/sHAW
KENDALL SHAW, Youth Diving, 1965. Liqui-
tex on canvas, 71 x 30. Tibor de Nagy Gallery,
New York.
Kendall Shaw was born in New Orleans,
Louisiana, in 1924. He studied at The Tulane
University of Louisiana, New Orleans, where he
received a B.S. degree in Chemistry, 1945, and
an M.F.A. degree in Painting, 1959; at the New
School for Social Research, with Louis Guglielmi,
Ralston Crawford, and Stuart Davis, New York;
and at The Brooklyn Museum Art School. He
has taught at The Tulane University of Louisi-
ana, New Orleans, and at Columbia University,
New York. He lives in New York, New York.
Mr. Shaw has received awards from the New
School for Social Research, New York, 1952;
Isaac Delgado Museum of Art, New Orleans,
1958; State of Louisiana .Art Commission, Baton
Rouge, 1960. Special exhibitions of his work
have been held at the Orleans Gallery, New
Orleaas, 1960, 1961, 1963; Columbia University,
New York, 1962, 1965; and at the Tibor de
Nagy Gallery, New York, 1964, 1965. His work
has been included in group exhibitions at the
Atlanta Art Association Galleries, 1958; Isaac
Delgado Museum of Art, New Orleans, 1958;
State of Louisiana Art Commission, Baton Rouge,
1960; in Hong Kong, 1960; Honolulu, Hawaii,
1960; at the Orleans Gallery, New Orleans, I960,
1961; in Tokyo, Japan, 1960, 1962; at the Morti-
mer Brandt Gallery, New York, 1962; Brandeis
LIniversity, Waltham, Massachusetts, 1963; Her-
ron Museum of Art, Indianapolis, 1964; Marian
Koogler McNay Art Institute, San Antonio, 1964;
The .Art Institute of Chicago, 1965; Museum of
Contemporary Art, Nagaoka, Japan, 1965; New
York University, New York, l965.
Mr. .Shaw's work is in the collections of Mr.
and Mrs. Robert Korach, Chicago; Mr. and Mrs.
John Bernard, Mr. and Mrs. Arthur Davis, New
Orleans; Mr. Hanlin Becker, Mr. and Mrs. David
Cowles, Mrs. O. Louis Guglielmi, Mrs. E. P.
Jones, New York L^niversity, Mr. and Mrs.
Frank Perry, New York; Mr. and Mrs. Howard
Juster, Scarsdale, New York; Mr. and Mrs. Rob-
ert Mayer, Winnetka, Illinois.
FRIEDEL DZUBAS, Mountainside, 1966.
Acnlic on canvas, 37 x 102. .^ndre Emmerich
Gallery, New York.
Friedel Dzubas was born in Berlin, Germany,
in 1915. He studied at the Prussian .Academy of
Fine .Arts and at the Bauhaus, Dusseldorf, with
Paul Klee. He has taught at Dartmouth College,
Hanover, New Hampshire, 1962. In 1966 he was
the recipient of a John Simon Guggenheim Me-
morial Foundation fellowship. Mr. Dzubas lives
in New York, N.Y.
Mr. Dzubas has received awards from The Art
Institute of Chicago, 1942, 1943, 1944; and The
Metropolitan Museum of .Art, New York, 1950.
Special exhibitions of his work have been held at
the Samuel M. Kootz Gallerv, Inc., New York,
1950; Tibor de Nagy Caller)'', New York, 1952;
Leo Castelli Caller)', New York, 1958; French &
Company, Inc., New York, 1959; Dwan Gallery,
Los Angeles, 1960; Robert Elkon Gallery, New
York, 1961, 1962, 1963, 1965; Kasmin Caller)-,
Ltd., London, 1964, 1965; .Andre Emmerich
Caller)', New York, 1966. His work has been
included in group exhibitions at the Stable Cal-
ler)', New York, 1957; The Solomon R. Guggen-
heim Museum, New York, 1961; Museum Wald-
see, Berlin, 1963; Dayton Art Institute, 1963;
\Vhitney Museum of American Art, New York,
1963; Museum of Art, Carnegie Institute, Pitts-
burgh, 1963; The Corcoran Gallery of .Art, Wash-
ington, D.C., 1963; Los Angeles County Museum
of .Art, 1964; The Jewish Museum, New York,
1964.
His work is in the collections of The Baltimore
Museum of .Art; Yale L^niversity, New Haven,
Connecticut; The Solomon R. Guggenheim Mu-
seum, Whitney Museum of .American Art, New
York; The Phillips Collection, Washington, B.C.
160
/george
HERBERT GEORGE, Dance Like a Comma,
1966. Canvas and wood, 34x68x52. Stable
Gallery, Neu York.
Herbert George was born in the state of \Vash-
ington in 1939. He studied at the University of
Pennsylvania, Philadelphia, where he received an
M.F.A. degree in 1966. Mr. George is currently
in England on a Fulbright Fellowship.
.\ special exhibition of his work was held at
the Stable Gallery, New York, 1966. His work
has been in group exhibitions at a number of
institutions including The Museum of Modern
Art, Whitney Museum of American Art, New
York; University of Pennsylvania, Philadelphia.
161
162
/benton
FLETCHER BENTON, Synchronetic C-11.
1966. Plexiglas and aluminum, 16'': x 20x4.
Lent by Mr. and Mrs. Arthur Shapiro, Beverly
Hills. Esther-Robles Gallery, Los Angeles.
"Any statement about my work at this time
would be in the nature of a non-statement. I am
more e.xcited about kinetics than anything Lve
done. I feel that we are at the beginning of
something that is going to be tremendous. Where
it will go I don"t know, but I do know that as I
make more discoveries of relationships between
form, motion and color my excitement intensifies.
Right now I have plans for doing a kinetic wall
to be activated and viewed from both sides."
(Courtesv of Art in America, Vol. LIV, No. 4,
1966, p. 68.)
Fletcher Benton was born in Jackson, Ohio, in
1931. He studied at Miami University, Oxford,
Ohio. He has taught at the California College
of Arts and Crafts, Oakland, and at the San
Francisco An Institute. He lives in San Fran-
cisco, California.
Special exhibitions of Mr. Benton's work have
been held at Gump's Gallery, San Francisco,
1960, 1961; California Palace of the Legion of
Honor, San Francisco, 1964; San Francisco Mu-
seum of Art, 1965; Esther-Robles Gallery, Los
.•\ngeles, 1966. His work has been included in
group exhibitions at the California College of
Arts and Crafts, Oakland, 1960; California Palace
of the Legion of Honor, San Francisco, 1961,
1962, 1963, 1964; Esther-Robles Gallerv, Los
.A.ngeles, 1962, 1965, 1966; Santa Barbara Mu-
seum of .4rt, 1962, 1965, 1966; San Francisco
.•\rt Institute, 1964, 1965; La Jolla Museum of
.\rt, 1965; \Vorld's Fair, New York, 1965; Uni-
versity of California, Berkeley, 1966; San Fran-
cisco Museum of Art, 1966.
Mr. Benton's work is in the collections of Mr.
and Mrs. William Janss, Beverly Hills; Mr. Leo
Guthman, Dr. Theodore Zeckman, Chicago; Mr.
and Mrs. .Mien Guiberson, Dallas; Mr. and Mrs.
Melvin J. Hirsh, Los Angeles; Mr. and Mrs.
Howard Lipman, New York; Mr. and Mrs. Jack
Wolgin, Philadelphia; Larry- .-Mdrich Foundation
Museum, Ridgefield, Connecticut.
HELEN FRANKENTHALER, Santorini, 1966.
Acr>'lic on canvas, 106x69. .Andre Emmerich
Gallery, New York. (1959, 1963, 1965)
Helen Frankenthaler was born in New York,
New York, in 1928. She studied at Bennington
College, \'ermont, where she received a B.A. de-
gree. She has ta\ight at New York University,
New York. She lives in New York, New York.
Miss Frankenthaler was the recipient of an
award from the I Biennale de Paris, 1959. Special
exhibitions of her work have been held at the
Tibor dc Nagv Gallery, New York, 1951, 1952,
1953, 1954, ■"'1955, 1956, 1957, 1958; Andre
Emmerich Gallery, New York, 1959, 1960, 1961,
1962, 1963, 1965, 1966; The Jewish Museum,
New York, 1960; Everett Ellin Gallery, Los
.'\ngeles, 1961; Galerie Lawrence, Paris, 1961,
1963; Bennington College, Vermont, 1962; Gal-
Icria dell'Ariete, Milan, 1962; Kasmin Gallery,
Ltd., London, 1964.
Her work has been included in group exhibi-
tions at the Museum of Art, Carnegie Institute,
Pittsburgh, 1955, 1958, 1961, 1964; Whitney Mu-
seum of American Art, New York, 1958, 1963;
University of Illinois, Champaign-L'rbana, 1959,
1963, 1965; in Kassel, Germany, 1959; Paris,
France, 1959; Tokyo, Japan, 1959; at The Colum-
bus Gallery of Fine Arts, Ohio, 1960; The
Solomon R. Guggenheim Museum, New York,
1961; World's Fair, Seattle, 1962; The Art In-
stitute of CUiicago, 1963; The Pennsylvania Acad-
emy of the Fine Arts, Philadelphia, 1963; San
Francisco Museum of Art, 1963; The Washington
Gallery of Modern .Art, Washington, D.C., 1963;
LInivcrsity of Texas, Austin, 1964; Tate Gallery,
London, 1964; Los .-Xngeles County Museum of
.\rt, 1964; The .American Federation of Arts,
World's Fair, New York, 1964; Brandeis LInivcr-
sity, Waltham, Massachusetts, 1964; The Detroit
Institute of Arts, 1965; The Maryland Institute,
Baltimore, 1966; Southern Methodist University,
Dallas, 1966; Norfolk Museum of Arts and Sci-
ences, 1966; The New Brunswick Museum of Art,
Saint John, 1966; \'enice Biennale darte, 1966;
National Collection of Fine Arts, .Smithsonian In-
stitution, The \Vashington Gallery- of Modern Art,
^Vashington, D.C., 1966.
Miss Frankcnthaler's work is in the collections
of the Ulster Museum, Belfast; Albright-Knox
.Art Gallery, Buffalo; The Detroit Institute of
Arts; Wad.sworth .Atheneum, Hartford; Univer-
sity of Nebraska, Lincoln; Milwaukee .Art Center;
The Newark Museum; Yale University, New-
Haven, Connecticut; The Brooklyn Museum, The
Museum of Modern Art, New York University,
Whitney Museum of .American Art, New York;
Museum of .Art, Carnegie Institute, Pittsburgh;
The Washington Gallery of Modern .Art.
frankenthaler/ 163
164 BRODERSON
MORRIS BRODERSON, Lizzie Borden Stand-
ino, 1966. Pastel and gouache on heavy paper,
35V.. x27'/2. Lent by Mr. Frank A. Campini,
Berkeley, California. The Downtown Gallery,
New York (1963, 1965)
Morris Broderson was born in Los Angeles,
California, in 1928. He studied at The Pasadena
Art Museum, and the Jepson Art Institute and
the University of Southern California, Los
Angeles. He lives in Los Angeles.
Mr. Broderson has received awards from the
Los Angeles County Museum of Art, 19.58, I960;
Art in America magazine, 1959; Whitney Museum
of American Art, New York, 1960; Art Directors
Club of Philadelphia, 1963. Special exhibitions
of his work have been held at .Stanford L'niver-
sity, Palo Alto, 1957; Santa Barbara Museum of
Art, 1958; Bertha Lewinson Gallery, Los Angeles,
1959, 1960; University of California, Riverside,
1959; Ankrum Gallery, Los Angeles, 1961, 1962,
1964, 1965; M. H. de Young Memorial Museum,
San Francisco, 1961; The Downtown Gallery,
New York, 1963; Phoenix Art Museum, 1964.
His work has been included in group exhibi-
tions at the Los Angeles Countv Museum of ,\rt,
1958, 1 96 1; Santa Barbara Museum of Art, 1958;
The Pennsylvania .\cadcmy of the Fine Arts,
Philadelphia, 1959; Butler Institute of .American
An, Youngstown, 1959, 1960; L'niversity of Cali-
fornia, Los Angeles, 1960; Whitney Museum of
American An, New York, 1960, 1962, 1963; The
John and Mable Ringling Museum of Art, Sara-
sota, 1960; Museum of An, Carnegie Institute,
Pittsburgh, 1961, 1964; California Palace of the
Legion of Honor, San Francisco, I96I; Anion
Carter Museum of Western Art, Fort Worth,
1962, 1963; Krannert Art Museum, University of
Illinois, Champaign, 1963, 1965; World's Fair,
New York, 1964; Leicester's Gallery, London,
1965; The Corcoran Gallery of Art, Wa.shington,
D.C., 1965.
Mr. Broderson's work is in the collections of
Container Corporation of America, Inc., Chicago;
The Kalamazoo Institute of Arts, Michigan;
Home Savings and Loan, Los Angeles County
Museum of An, Los Angeles; Sumner Founda-
tion, Whitney Museum of American Art, New
York; Joslyn Art Museum, Omaha; Stanford Uni-
versity, Palo Alto; Phoenix Art Museum; James
A. Michener Foundation, Pipersville, Pennsyl-
vania; M. H. de Young Memorial Museum, San
Francisco Museum of Art, San Francisco; Dr.
Mackinley Helm, Mr. Wright Ludington, .Santa
Barbara Museum of Art, .Santa Barbara; Joseph
H. Hirshhorn Collection, Washington, D.C.
765
**'/: .-.VH
166
/remington
DEBORAH REMINGTON, Canyon, 1964. Oil
on canvas, 49 x 44',2. Bykert Gallery, New York.
"I do not approach my work with any com-
plete structural preconceptions, but believe in
allowing each painting to develop and adjust as
I work. Still, I find the forms I invent con-
tinually reflected in the external world, and must
believe that the opposition and attraction im-
plicit between them mirror something which per-
vades all life, artistic, biological, and intellectual.
It is the tension between male and female, be-
tween order and chance, between dissonance and
harmony.""
Deborah Remington was born in Haddonfield,
New Jersey, in 1930. She studied at the San
Francisco .Art Institute from 1949 to 1952, re-
ceiving her B.F..'\. degree in 1955. From 1955 to
1958 Miss Remington traveled and studied in
.Asia. She taught at the San Francisco Art Insti-
tute, 1958-65; at the University of California,
Davis, 1962; at San Francisco State College,
1965; and was guest lecturer at the San Fran-
cisco .Art Institute in 1966. She lives in New
York, N.Y.
Special exhibitions of Miss Remingtons work
have been held at the Dilexi Gallery, San Fran-
cisco, 1962, 1963, 1965. Her work has been in-
cluded in group exhibitions at the .San Francisco
Museum of .Art, 1964; Whitney Museum of
.American Art, New York, 1965, 1966; AVorld's
Fair, New York, 1965; Musee Cantonal des
Beaux-.Arts, Lausanne, Switzerland, 1966.
Miss Remington"s work is represented in nu-
merous private and public collections including
the \Vhitney Museum of .American .Art, New
York; Miss Dorothea .Speyer, Paris; Crown Zel-
lerbach Corporation, San Francisco Museum of
.Art, San Francisco, California.
ALBERTO C:OLLIE. Spatial Absolute «3. 1965.
Aluminum on plexiglas base, 18 diameter. Lee
Nordne.ss Galleries Exhibition Section, Inc., New
York.
.Mberto Collie was born in Caracas, Venezuela,
in \9?)9. He studied with .-\rmando Barrios and
Eduardo de Gregorio in Caracas. He also has
attended Boston L'niversity, where he received
his B.-A., 1964; Harvard University; and the
Massachusetts Institute of Technology, Cam-
bridge. He was the recipient of a John Simon
Guggenheim Memorial Foundation fellowship,
1966. He lives in Boston, Massachusetts.
Special exhibitions of Mr. Collie's work have
been held at the Atelier Chapman Kelley, Dallas,
1963; Nordness Gallery, New York, 1964; and at
the Venezuelan Embassy, Washington, D.C., 1964.
His work has been included in group exhibitions
at the Chrysler Art Museum of Provincetown
and at the World's Fair, New York, 1964-65. Mr.
Collie's work is represented in the collections of
the Dallas Museum of Fine .'\rts, .Xtelier Chap-
man Kelley, Dallas; Chrysler Art Museum of
Provincetown; and the S. C. Johnson & Son Col-
lection. Racine, Wisconsin.
collie/
167
168
/rosenquist
JAMES ROSENQUIST, Paimino for the Amer-
ican Negro, 1962-63. Oil on canvas, 80x210.
Leo Castclli Gallery, New York.
James Rosenquist was born in Grand Forks,
North Dakota, in 1933. He studied at the Uni-
versity of Minnesota, Minneapolis, and at the
Art Students League of New York. He lives in
New York, New ^'ork.
Special exhibitions of Mr. Rosenquist's work
have been held at the Green Gallery, New York,
1962, 1963, 1964; Dwan Gallery, Los .\neeles,
1964; Leo Castclli Gallery, New York, 196.'i,
1966; Galeric Ileana Sonnabend, Paris, 196.'j;
Galleria d'Arte Moderna, Turin, Italy, 1965; Ste-
delijk Museum, .Amsterdam, 1966; Staatliche
Kunsthalle, Baden-Baden, Germany, 1966; Kuns-
thalle, Berne, 1966; Louisiana Kunstmuseum,
Louisiana, Denmark, 1966; Moderna Museet,
Stockholm, 1966.
His work has been included in group exhibi-
tions at the Dwan Gallery, Los .Angeles, 1962;
Sidney Janis Gallery, New York, 1962; Institute
of Contemporary .Arts, London, 1963; The
Solomon R. Guggenheim Museum, New York,
1963; Oakland /\rt Museum, 1963; Centre Cul-
turcl Americain, Cinema Ranalagh, Galerie
Ileana Sonnabend, Paris, 1963; The Washington
Gallery of Modern Art, Washington, D.C., 1963;
Amherst College, Massachusetts, 1964; Stedelijk
Museum, .Amsterdam, 1964; Tate Gallery, Lon-
don, 1964; Louisiana Kuntsmuseum, Louisiana,
Denmark, 1964; Musee d'Art Moderne de la Ville
de Paris, 1964; Portland .Art Museum, Oregon,
1964; Moderna Museet, Stockholm, 1964; Palais
des Beaux-.Arts de Bruxelles, 1965; Institute
Torcuato di Telia, Buenos Aires, 1965; Ham-
burger Kunstkabinett, Hamburg, Germany, 1965;
The Four Seasons, Sidney Janis Gallery, New
York, 1965; American Embassy, Paris, 1965; The
Art Institute of Chicago, 1966; Flint Institute of
Arts, Michigan, 1966; Nelson Gallers-.Atkins Mu-
seum, Kansas City, Missouri, 1966; Galleria Gian
Enzo, Milan, 1966; Cordier & Eckstrom, Inc., The
Jewish Museum, The Museum of Modern Art,
New York, 1966.
Mr. Rosenquist's work is represented in many
public and private collections.
769
170
/liberman
ALEXANDER LIBERMAN, Colloquy, 1966.
Plastic paint on canvas, 77 x 50. The Betty
Parsons Galler)-, New York. ( 1965)
Alexander Liberman was born in Kiev, Russia,
in 1912. He studied painting with Andre Lhote,
Paris, from 1929 to 1931 and architecture with
.\ugust Perret at the Ecole des Beaux Arts, Paris,
from 1930 to 1932. From 1933 to 1937 he was
.■\rt Editor of ]'U magazine, and he became Art
Director of Vogue magazine in 1943. His work
was selected for representation in the "Art in
America Exhibition," New York, 1961. He lives
in New York, Ne\v York.
Special exhibitions of Mr. Liberman's work
have been presented at The Museum of Modern
.\rt. New York, 1959; The Bcttv Parsons Gallery,
New York, 1960, 1962, 1963, '1964; Bennington
College, \'crmont, 1964; Robert Eraser Caller)',
London, 1964.
Mr. Liberman's work has been included in
group exhibitions at The Solomon R. Guggen-
heim Museum, New York, 1954, 1964; Milwau-
kee .Art Center, 1956; in Zurich, 1959; at The Art
Institute of Chicago, 1961, 1962; .Arthur Tooth
& Sons, London, 1961; David Herbert Gallery,
New York. 1961; .Albright-Knox .Art Caller)-,
Buffalo, 1962; World's Fair, Helsinki, 1962; The
Museum of Modern Art, New York, 1962, 1964,
1965, 1966-67; ^Vhitnev Museum of .American
Art, New York, 1962, 1963, 1965; Tokyo Bien-
nale, 1962; DcCordova and Dana Museum, Lin-
coln, Massachusetts, 1963; Galerie Claude Bernard
Paris, 1963; The Roswell Museum and .Art Cen-
ter, New Mexico, 1963; The Corcoran GallriT of
Art, Washington. D.C., 1963, 1964; The \Vash-
ington Gallery of Modern Art, AVashington, D.C.,
1963; \Vadsworth .Athcncum, Hartford, 1964; Los
.Angeles County Museum of Art, 1964; World's
Fair, New York, 1964; Galerie Denise Rene,
Paris, 1964; Kranncrt Art Museum, University
of Illinois, Champaign, 1965; The .American
Federation of .Arts, New York, 1965; The Penn-
.sylvania .Academy of the Fine .Arts, University of
Pennsylvania, Philadelphia, 1965.
Mr. Liberman's work is in the collections of
the .Addison Gallery of American .Art, .Andover,
Massachusetts; .Albright-Knox .Art Gallery, Buf-
falo; The .Art Institute of Chicago; Tate Gallery,
London; Yale L'niversity, New Haven, Connecti-
cut; Chase Manhattan Bank, Museum of Modern
Art, Whitney Museum of .American .Art, AVood-
ward Foundation, New York; Smith College,
Northampton, Massachusetts; Rhode Island
School of Design, Providence; The Washington
Gallery of Modern Art, Washington, D.C.
schanker/
171
%,
•rH
LOUIS SCHANKER, I'ariation on a Theme,
1965. Black walnut on mahogany base, 79 x 10
x3. Dorsky Gallcns New York. (1950, 1955,
1957)
Louis Schanker was born in New York, New
York, in 1903. He studied at The Cooper Union
School of Art and Architecture, New York, 1920-
24; Art Students League of New York, 1925; and
at the Educational Alliance Art School, New
York. From 1931 to 1933 he traveled and studied
in France and .Spain. He has taught at the New
School for Social Research, New York, and at
Bard College, .Annandale-on-Hudson, New York.
More than fifty special exhibitions of his work
have been held including those at the Lhiiversity
of Michigan, Ann .Arbor; The Art Institute of
Chicago; The Brooklyn Museum, Dorsky Gallery^
Grace Borgenicht Gallery, Inc., New School for
Social Research, The Willard Gallery, New York.
His work has been included in group exhibitions
at the University of Michigan, .Ann Arbor; The
Brooklyn Museum, The Museum of Modern .Art,
New School for Social Research, Whitney Mu-
seum of American Art, New York; The Phila-
delphia .Art .Alliance; San Francisco Museum of
Art; University of Illinois, Urbana; Munson-
Williams-Proctor Institute, Utica.
Mr. Schanker's work is in many collections
including those of the University of Michigan,
Ann .Arbor; University of Colorado, Boulder;
Albright-Knox Art Gallery, BufTalo; The .Art
Institute of Chicago; Cincinnati Art Museum;
The Cleveland Museum of Art; The Detroit
Institute of Arts; Lessing J. Rosenwald Collec-
tion, Jenkintown, Pennsylvania; LInivcrsity of
Nebraska, Lincoln; Wesleyan College, Macon,
Georgia; University of Wisconsin, Madison; The
Brooklyn Museum, The Metropolitan Museum
of Art, The New York Public Library, Whitney
Museum of .American Art, New York; Philadel-
phia Museum of .Art; The Toledo Museum of
Art; Joseph H. Hirshhorn Collection, The Phil-
lips Collection, Washington, D.C.
172
KAISHJ 173
MORTON KAISH, The Women, 1960. Oil on
canvas, 50 x 60. Staempfli Gallery, New York.
(1965)
Morton Kaish was born in Newark, New
Jersey, in 1927. He studied at Syracuse Univer-
sity, where he received a B.F.A. degree; the
Academic de la Grande Chaumierc, Paris; and
the Instituto d'Arte, Florence. While attending
Syracuse University he received a Harriet T.
Leavenworth Award, 1949. In 1949 Mr. Kaish
taught at The Everson Museum of Art, Syracu.se.
He lives in New York, New York.
Mr. Kaish was the recipient of awards from
The Everson Museum of .\\i, Syracuse, 1950, and
Syracuse University, 1962. Special exhibitions of
his work have been held at the Rochester Me-
morial .Art Gallery, and the Staempfli Gallery,
New York, 1964. His work has been included in
group exhibitions at The Museum of Modern
Art, New York, 1953; Manhattanville College of
the Sacred Heart, New York, 1955; Instituto
Calcografio and Gallerie II Torcoliere, Rome,
between 1956-58; Barone Gallery, New York,
1959; The .Art Institute of Chicago, 1964; Ne-
braska Art Association, Lincoln, 1964; Sheldon
Memorial .Art Gallery, University of Nebraska,
Lincoln, 1964; Krannert .Art Museum, L'nivcrsity
of Illinois, Champaign, 1965; Herron Museum
of Art, Indianapolis, 1965; Guild Hall, East-
hampton, Long Island, New York, 1966; Amer-
ican Academy of .Arts and Letters, Whitney Mu-
seum of American .Art, New York, 1966.
DONALD KAUFMAN, Thatcher and Grand,
summer, 1966. Liquitex on canvas, 27 x 78.
Richard Feigen Gallery, New York & Chicago.
"The work may be produced out of anything;
then it needs to be attended to."
Donald Kaufman was born in New Orleans,
Louisiana, in 1933. He studied at the LTniversity
of Wisconsin, Madison, where he received a B.S.
degree, 1958, and an M.S. degree, 1961. He lives
in New York, New York.
Special exhibitions of Mr. Kaufmans work
have been held at the Richard Feigen Gallery,
Chicago, 1966, and at the Richard Feigen Gal-
lery, New York, 1966. His work has been included
in group exhibitions at the Auslander Gallery,
New York, and at The Corcoran Gallery of Art,
Washington, D.C., 1967.
smith/
175
NIC SMITH, Albiitro.u II, 1966. Acrylic aiitl oil
pastel on canvas, 68x65',.'. Comara Ciallcry, Los
.\ngelcs.
"If the paintings of my youth can fairly be said
to reveal an awareness of becoming, then it may
be no less fair to note that it now seems necessary
to express an awareness of being.
"Like a gyroscope, twentieth-century art has
increasingly turned upon itself. And, like a
gyroscope, inward momentum may produce an
appearance of arrest. Vet the exclusively visual
problems of "pure painting," 'art as art,' or the
attempt to determine 'the irreducible essence of
pictorial art' seem ultimately academic. Even the
gyroscope undergoes friction and eventual col-
lapse. .'\rt conceived as an expression of art
will in the long run severely limit art as an ex-
prcssiiHi (if human consciousness.
"Rilke, in the Duino Elegies, spoke of his angels
as 'being, nothing but being, a superabundance
of being.' But the danger is always one of getting
trapped into making pictures in which there are
no mo\'ing ]5arts to go v\rong — the danger of
getting seduced too easily and too quickly by the
beckoning silence of a transcendental dead end.
To avoid this trap the mind must, in a way, cease
to create, and the self-conscious 'T must quietly
disappear. Thus the act of painting is not so
nmch a voyage as a meditation, an attempt to
slow the mind down in order to watch it work.
"Baudelaire was moved by the spaciousness of
the .sea to write: 'What a delight to drown one's
gaze in the immensity of the sky and sea ... all
those things think through me, or I think through
them, for in the vastness of revery, the I quickly
loses itself.' Perhaps at this stage there is no
real dichotomy between the still timelcs-sness of
being and the daily conllicts of becoming. Here
the artist no longer creates but is created, and
artist and canvas are one.
"Nevertheless, I must finally agree with Susan
.Sontag when she .said recently, 'interpretation is
the revenge of the intellect upon art. . . . Even
more it is the revenge of the intellc( t upon the
world. To interpret is to impoverish, to deplete
the world — in order to set up a shadow world of
tneaninn,' "
Vie Smith was born in Grand Island, Nebraska,
in 1929. He studied at Long Beach State College,
California, where he received an M..'\. degree in
1951. He has taught at Long Beach State Col-
lege, California, 1955-62, and at California State
College at Fullerton, 1962-66. He lives in West-
minster, C'alifornia.
Special exhibitions of his work have been held
at the Exodus Gallery, Los Angeles, 1958; Long
Beach Museum of .-Nrt, 1959; Comara Gallery,
Los Angeles, 1960, 1962, 1966; Santa Barbara
Museum of Art, 1962; The Pasadena An Mu-
seum, 1963. His work has been in many group
exhibitions including those at the Los .Angeles
Countv Museum of .Art, 1957, 1959; La Jolla Mu-
seum of Art, 1960, 1961, 1962; in Osaka, Japan,
1960; at the San Francisco Museum of Art, 1960,
1961, 1962, 1963, 1964, 1965, 1966; The Museum
of Fine Arts, Houston, 1962; Galleria d'Arte
Modcrna, Turin, Italy, 1962; in Italv and West
Germany, 1964, 1965.
Mr. .Smith's work is represented in numerous
collections including the Downey Museum of .Art,
Downey, California; La Jolla Museum of .Art;
Long Beach Museum of .Art; International Center
of Esthetic Research, Turin, Italy.
176
/PINKERTON
CLAYTON PINKERTON, Hollywood Party,
1966. Acrylic on canvas, 69x72. Arleigh Gal-
lery, San Francisco.
"I am intrigued by the relationship of man to
himself; his environment; and his fellow man. It
seems at times rather messed up."
Clayton Pinkerton was born in San Francisco,
California, in 1931. He studied at the University
of New Mexico, Albuquerque, and at the Cali-
fornia College of Arts and Crafts, Oakland,
where he received his B.F.A. and M.F.A. degrees.
Mr. Pinkerton was the recipient of a Fulbright
Fellowship to France, 1957-58. He has taught at
the Richmond .-Xrt Center, California, 1952-62;
and at the California College of Arts and Crafts,
Oakland, from 1960 to the present. He lives in
Richmond, California.
Special exhibitions of his work have been held
at the Everett Ellin Gallery, Esther-Robles Gal-
lery, Los ."Xngeles; Arleigh Gallery, California
Palace of the Legion of Honor, Lucien Labaudt
Gallery, M. H. de Young Memorial Museum,
San Francisco Museum of Art, San Francisco.
His work has been included in group exhibitions
at the University of California, Los Angeles; The
Museum of Modern Art, New York; Museum of
Art, Carnegie Institute, Pittsburgh; The Virginia
Museum of Fine .-Xrts, Richmond.
Mr. Pinkerton's work is in the collections of
Mr. and Mrs. Dennis Hopper, Los Angeles; Mrs.
Charlotte Mack, M. H. de Young Memorial Mu-
seum, San Francisco; Mr. and Mrs. Gifford
Phillips, Santa Monica, California.
Df KOONING 177
VVILLEM DE KOONING, Big Blonde, 1964-65.
Oil and collage on paper, 29x30. Allan Stone
(iallery, New York. (1952)
Willeni de Kooning was born in Rotterdam.
Holland, in 1904. He studied at the .\radeniie
voor Beeldende Kunsten ed Technische Weten-
sehappen, .Xmsterdam, 1916-24. He taught at
Black Mountain College, North Carolina, 1948,
and at Yale University, New Haven, Connecticut,
1950-51. He lives in Springs, Long Island, New
York.
Mr. de Kooning has received awards from The
.\rt Institute of Chicago; The .Academy of Plas-
tics and the State Academy, Rotterdam. Special
exhibitions of his work have been held at the
Charles Egan Gallery, New York, 1948, 1951;
The .^rts Club of Chicago, 1951; The School of
the Mu.seum of Fine .\rts, Boston, 1953; Sidney
Janis Gallery, New York, 1953, 1956, 1959, 1962;
Martha Jackson Gallery, New York, 1955; Paul
Kantor Gallery, Los Angeles, 1961; The Good-
man Gallery, Buffalo, 1964; Allan Stone Gallery,
New York, 1964, 1965.
His work has been in numerous group exhibi-
tions including those at The Museum of Modern
Art, New York, 1936, 1951; Whitney Museum of
.'\merican .Xrt, New York, 1948, 1950, 1954-55,
1958; The \'irginia Museum of Fine .Arts, Rich-
mond, 1950; Wnice Biennale d'arte, 1950, 1954,
1956; The Art Institute of Chicago, 1951, 19.54;
Museu de .'\rte Moderna de Sao Paulo, Brazil,
1951, 1953; Albright-Knox Art Gallery, Buffalo,
1952; Mu.seum of Art, Carnegie Institute, Pitts-
burgh, 1952, 1955; The Baltimore Mu.seum of
Art, 1953; World's Fair, Brussel.s, 1958.
Mr. de Kooning's work is in the collections of
Mr. and Mrs. .Albert M. Greenfield, Chestnut
Hill, Pennsylvania; The Art Institute of Chicago;
XeLson Gallery-.*\tkins Museum, Kansas City,
Missouri; Mr. John Becker, Mr. .Alexander Bing,
Dr. and Mrs. John A. Cook, Mr. Edw in Denby,
Mr. Max Margulis, The Museum of Modern .Art,
Mr. Fairfield Porter, The Hon. Nelson .A. Rocke-
feller, The Solomon R. Guggenheini Museum,
Mr. Saul Steinberg, Whitney Museum of Amer-
ican Art, New York; Museum of .Art, Carnegie
Institute, Pittsburgh; Joseph H. Hirshhorn Collec-
tion, Washington, D.C.; Mr. AValter .Auerbach,
Mr. Daniel Brustlein, Mr. Rudolph Burkhardt,
Mrs. Robert Leonhardt, Mr. Frank O'llara, and
in the Helena Rubenstein Collection.
178 COHEN
GEORGE COHEN, Untitled, 1965. Acrylic and
mirrors on canvas, 63 x 84. Richard Feigen Gal-
lery, New York & Chicago. (1965)
George Cohen was born in Chicago, Illinois, in
1919. He studied at The School of The Art
Institute of Chicago where he received a B.F.A.
degree in 1946; at Drake University, Des Moines,
1946; the University of Chicago where he com-
pleted the residence requirements for graduate
degrees in the history of art, 1946-48. He was
the recipient of scholarships from The School of
The Art Institute of Chicago, 1938-39 and 1939-
40. Mr. Cohen has taught at Northwestern Uni-
versity, Evanston, Illinois, since 1948. He has
held teaching appointments at the Contemporary
.\rt Workshop, the Institute of Design, Illinois
Institute of Technology, Chicago; the Evanston
Art Center, Illinois; the Institute of Related Arts,
Wilmette, Illinois. He lives in Evanston, Illinois.
Mr. Cohen received awards from the North
Shore .'\rt League, Winnetka, Illinois, 1953; The
.■\rt Institute of Chicago, 1956; and the William
and Noma Copley Foundation, Chicago, 1956.
Special exhibitions of his work have been held at
Bordelon Gallery, Chicago, 1950; Contemporary
Arts, Chicago, 1951; Baldwin-Kingery, Chicago,
1953; The "Alan Gallery, New York, 1958-59;
Richard Feigen Gallery, Chicago, 1960-64;
Feigen/Palmer Gallery, Los .'\ngeles, 1963; Rich-
ard Feigen Gallery, New York, 1963-64, 1966.
His work has been included in group exhibi-
tions at the Krannert Art Museum, University
of Illinois, Champaign; The Art Institute of
Chicago; The Cleveland Museum of Art; The
Minneapolis Institute of Arts; The Museum of
Modern Art, New York; Museum of Art, Car-
negie Institute, Pittsburgh; San Francisco Mu-
seum of Art.
Mr. Cohen's work is in the collections of The
Hon. and Mrs. Nelson A. Rockefeller, .\lbany;
Mr. and Mrs. William Copley, Mr. Sam Hunter,
Howard W. Lipman Foundation. Mr. Bert Stern,
New York; Mme. Lily Dache, La Baronne A. dc
Gunzburg, Paris; Joseph H, Hirshhorn Collection,
Washington, D.C.; Mr. and Mrs. Robert Mayer,
Winnetka, Illinois.
randell/
179
RICHARD K. RANDELL, Big Zero, 1965.
Wood, niasoiiitc, fabric, and dope, 40 x 60 x 52.
Royal Marks Gallcn', New York.
■"Coupled with the sculptors suspicion that
society regards him either as a menace or an
idiot is the artists growing understanding that
M)ciety in fact regards him as a "natural enemy'
whose pursuit of values, whicli appear to be
individual rather than collective, places him out-
side the social entity, and therefore he is not
eligible for its reward of serious concern. Recip-
procally, the sculptor recognizes his estrangement
and burrows deeper into his work; it becomes
more depersonalized, more calculated, more dif-
ficult, more covertly critical, and more unmindful
of earlier art. .And, the alienation of the artist
becomes more explicit.
'".Actually, many of us prefer it that way!"
fCourtesv of Arl in America, Vol. LI\', No. 4,
1966, p. 52.)
Richard Randell was born in Minneapolis,
Minnesota, in 1929. From 1954 to 1957 he was
an assistant to the sculptor, John Rucid, in Min-
neapolis. He has taught at llamline L niversity,
Saint Paul .Seminary, and Macalaster College,
St. Paul, 1954-61; and at the University of Min-
nesota, Minneapolis, 1961-65. Presently he
teaches at Sacramento .State College and li\es in
Sacramento, ("alifornia.
A special exhibition of his work was held at
the Royal Marks Gallery, New ^'ork, I96G. His
work has been included in group exhibitions at
The Minneapolis Institute of Arts, 1956, 1957,
1959, 1961, 1963, 1964; Walker Art Center, Min-
neapoli.s, 1956, 1958, 1959, 1960, 1961, 1962,
1964; The Detroit Institute of .Arts, 1959;
Joselyn Art Mu.seum, Omaha, I960; The Art
Institute of Chicago, 1961; St. Paul Gallery and
School of .Art, 1961, 1964; San Francisco Museum
of -Art, 1961; Museum of Contemporarv Crafts,
New York, 1963; World's Fair, New "^'ork, 1965;
The American Federation of Arts, Royal Marks
Gallery, World House Galleries, New York, 1965;
Carleton College, Northfield, Minnesota, 1965.
180
/mallory
Xfl^
RONALD MALLORY, Untitled, 1965. Con-
tained mercury, 28% x 28% x 3. Stable Gallery,
New York.
Ronald Mallory was born in Philadelphia,
Pennsylvania, in 1935. He studied at the Univer-
sity of Colorado, Boulder, 1951; University of
Florida, Gainesville, where he received the de-
gree of Bachelor of Architecture, 1952; Escola
Nacional de Belas Artes, Rio de Janeiro, with
Roberto Burle Marx, 1956; and at the Academic
Julian, Paris, 1958. He lives in New York, N.Y.
Special exhibitions of his work have been held
at Galerie Claude Volsey, Paris, 1960; Mirell
Gallery, Miami, 1961; and the Stable Gallery,
New York, 1966. Mr. Mallory's work was in-
cluded in group exhibitions at The Byron Galler>',
P. V. L GalleiT, New York, 1964;' Institute of
Contemporary .'\rt, Boston, 1965; Palais des
Beaux-Arts de Bruxelles, 1965; Contemporary
Arts Association, Houston, 1966; The Museum of
Modern Art, Whitney Museum of American Art,
New York, 1966; University of Pennsylvania,
Philadelphia, 1966; Larry Aldrich Foundation
Museum, Ridgefield, Connecticut, 1966; San
Francisco Museum of .Art, 1966.
Mr. Mallory "s work is in the collections of the
Albright-Knox Art Gallery, Buffalo; The Mu-
seum of Modern .•\rt. New York; Larry Aldrich
Foundation Museum, Ridgefield, Connecticut.
I'HILII' GLSTOX, Heir, 1964. Oil on canvas,
69 X 76. Marlborough-Gcrson Gallery, Inc., New
York. (1948, 1949, 1965)
Philip Guston was born in Montreal, Canada,
in 1913. He studied at the Otis An Institute of
Los Angeles County, Los Angeles. Mr. Guston
was the recipient of a John Simon Guggenheim
Memorial Foundation fellowship in 1948; a grant
from the .\merican Academy of .\rts and Letters.
New York, in 1948; a Prix de Rome in 1948; and
a grant from the Ford Foundation in 1958. He
has taught at The L'niversity of Iowa, Iowa City,
from 1941 to 1945; \Vashington L'niversity, St.
Louis, from 1945 to 1947; New York University
from 1951 to 1959; and the Pratt Institute, New
York, from 1953 to 1957. He lives in New York,
New York.
Mr. Guston received an award from the Mu-
seum of .^rt, Carnegie Institute, Pittsburgh, 1945.
.Special exhibitions of his work have been held at
The L'niversity of Iowa, Iowa City, 1944; Mid-
town Galleries, New York, 1945; The School of
the Museum of Fine Arts, Boston, 1947; Munson-
\Villiams-Proctor Institute, Utica, New York.
1947; University of Minnesota, Minneapolis, 1950;
Peridot Gallery, New York, 1952; Egan Gallery.
New York, 1953; Sidney Janis Gallery, New
York, 1956, 1958, 1960, 'l961; Museu de .^rte
Moderna de Sao Paulo, Brazil, 1959; Dwan Gal-
lery, Los .Angeles, 1961; Stedelijk Museum, Am-
sterdam, 1962; The Solomon R. Guggenheim
Museum, New York, 1962; Palais des Beaux-.'\rts
de Bruxelles, 1963; Whitechapel Galler>-, London,
1963; Los Angeles County Museum of Art, 1963.
GUSTON 181
Mr. CJuston's work has been included in group
exhibitions at the University of Illinois, Cham-
paign-Urbana, 1948, 1949, 1965; University of
Minnesota, Minneapolis, 1951; The Ballimore
Museum of Art, 1953; The Museum of Modern
Art, New York, 1956, 1958; Museu de .'\rte
Moderna de Sao Paulo, Brazil, 1957; Musco
Nacional de Arte Moderno, Palacio de Bellas
.Artes, Mexico City, 1958; in Kassel, Germany,
1959; at the Whitney Museum of .'\merican .'\rt.
New York, 1959, 1964; Ycnicc Biennalc d'arte,
I960; United States Information .'Vgency, Wash-
ington, D.C., 1961-62; \Vorld's Fair, Seattle,
1962; The An Institute of Chicago; The Pennsyl-
vania .Academy of the Fine .Arts, Philadelphia;
Museum of An, Carnegie Institute, Pittsburgh;
San Francisco Museum of Art; The Corcoran
Gallery of Art, Washington, D.C.
Mr. Guston's work is in the collections of The
Baltimore Museum of .Art; Albright-Knox .Art
Gallery, Buffalo; State College of Iowa, Cedar
Falls; Krannert .Art Museum, University of Illi-
nois, Champaign; The .Art Institute of Chicago;
The Cleveland Museum of .Art; Tate Caller)',
London; The Minneapolis Institute of .Arts; The
Metropolitan Museum of .Art, The Museum of
Modern .Art, The Solomon R. Ciuggcnheim Mu-
seum, Whitney Museum of .American .Art, New
York; James .A. Michener Foundation, Pipersville,
Pennsylvania; City .Art Museum of St. Louis,
Washington University, .St. Louis; Munson-
Williams-Proctor Institute, Utica; The Phillips
Collection, ^\'ashington, D.C; \Vorccster .Art Mu-
seum, Massachusetts.
182 OLIVEIRA
NATHAN OLIVEIRA, Standing Man and Win-
dow, 1965. Oil on canvas, 66x60. Landau-Alan
Gallen-, New York. (1957, 1961, 1963)
Nathan Oliveira was born in Oakland, Cali-
fornia, in 1928. He studied at Mills College.
Oakland, and received his M.F.A. degree from
the California College of Arts and Crafts, Oak-
land, in 1952. He was awarded a Louis Comfort
Tiffany Foundation scholarship in 1956, a John
Simon Guggenheim Memorial Foundation fellow-
ship in 1958, and a Norman Wait Harris Bronze
Medal and Prize, The Art Institute of Chicago,
1959. Mr. Oliveira has taught at the California
School of Fine Arts, San Francisco; California
College of Arts and Crafts, Oakland; and the
University of Illinois, Champaign-Urbana. He
now is teaching at Stanford University, Palo
Alto, and he lives in Palo Alto, California.
Special exhibitions of his work have been held
at The Alan Gallen', New York, 1958, 1959,
1960, 1961, 1965; Paul Kantor Gallery, Los An-
geles, 1960, 1961; University of Illinois, Cham-
paign-Urbana, 1961. His work has been included
in group exhibitions at the University of Illinois,
Champaign-Urbana, 1957, 1961, 1963; Whitney
Museum of American .^rt, New York, 1958, 1959,
1960, 1961; Bienal Interamericana, Mexico City,
1958; International Exhibition, Tokvo, 1958; The
Art Institute of Chicago, 1959, 1960, 1961; The
Museum of Modern Art, New York, 1959; The
Solomon R. Guggenheim Museum, New York,
1961: Museum of Art, Carnegie Institute, Pitts-
burgh, 1961; World's Fair, Seattle, 1962; and at
other institutions.
Mr. Oliveira's work is in many collections in-
cluding those of the University of Michigan,
Ann Arbor; Kranncrt Art Museum, University of
Illinois, Champaign; The Art Institute of Chi-
cago; Dallas Museum of Fine Arts; University of
California, Los Angeles; \Valker .Art Center,
Minneapolis; Mr. Larry Aldrich, Mr. Richard
Brown Baker, The Museum of Modern Art, Mr.
Roy R. Neuberger, Whitne\- Museum of Amer-
ican .■\rt, New York; Mr. Joseph Pulitzer, St.
Louis; San Francisco Museum of Art; Joseph
H. Hirshhorn Collection, Washington, D.C.;
Butler Institute of American Art, Youngstown.
CORNCLl/i83
JOSEPH CORNELL, ApoUinarh, 1952. Con-
struction, 9-V4 X 15%. Allan Stone Gallery, New-
York.
Joseph Cornell \sas born in Nyack, New York,
in 1903. He attended Phillips Academy of Amer-
ican .\\X., .Andover, Massachusetts. As an artist,
however, he is largely self-taught. He lives in
Flushing, New York.
Mr. Cornell has received awards from the
William and Noma Copley Foundation, Chicago,
1954, and The Art Institute of Chicago, 1959.
Special exhi1)itions of his work have been held
at the Julicn Lew Gallery, New York, 1932, 1939,
1940; Hugo Gallery, New- York, 1946; Copley
Galleries, Los Angeles, 1948; Charles Egan Gal-
lery, New York, 1949, 1950, 1953; Allan Frum-
kin Gallery, Chicago, 1953; Walker Art Center,
Minneapolis, 1953; the Stable Gallery, New
York, 1955, 1957; Bennington College, Vermont,
1959; Ferus Gallery, Los\'\ngeles, 1962; Robert
Schoelkopf Gallery, New York, 1966; The Pasa-
dena Art Museum, 1966.
Mr. Cornell's work has been included in nu-
merous group exhibitions and is in the collections
of the Museum of Fine Arts, Boston; Mr. \Vil-
liam Copley, Los Angeles; Mrs. Albert List, The
Museum of Modern Art, Mr. Allan Stone,
Whitney Museum of American .Xrt, New York;
The Pasadena Art Museum; Mr. Edgar Bergman,
Mr. Lawrence .\. Fleischman, Mr. and Mrs. John
de Menil, and Mr. Steve Paine.
i>HOTOi;itAi>HY i:kkiiitk
In this listing, names of the photographers appear in alphabetical order,
followed by page numbers on which their work is reproduced.
ELLEN AUERBACH- 149, 154
BRENWASSER-75
RUDOLPH BURCKHARDT-97, 131, 135
GEOFFREY CLEMENTS - 42, 43, 47, 52, 53, 59, 60, 63, 71, 72, 74, 76, 82, 92,
103, 108, 138, 150, 155, 156, 159, 163, 165, 166, 167, 174, 178, 182
ED DULL PHOTOGRAPHY- 134
THOMAS FEIST- 121
RICHARD K. KOCH- 129
WILLIAM LaRUE-40
O. E. NELSON - 55, 57, 111, 116, 147, 153, 181
ERIC POLLITZER-46, 98, 99, 119, 169
NATHAN RABIN -44, 81, 170
LILO RAYMOND- 151
WALTER ROSENBLUM-'il, 146, 171
W. C. RUNDER PHOTO COMPANY, INC. - 89
WALTER RUSSELL- 144
JOHN D. SCHIFF-49, 78, 90, 94, 118, 125, 161, 172, 180
JACK STOCK STUDIO- 132
KOTKS
\oti<:k
,
iKiii<:x
ACTON, Arlo 1 36 DECHAR, Peter
ADIER, Samuel M 1 44
AKAWIE, Thomas F 84
ARAKAWA
.98
BARNES, Robert 66
BATTENBERG, John N 40
BAYER, Herbert 142
BECHTLE, Robert Alan 68
BENTON, Fletcher 162
BISHOP, Isabel 75
BOLOMEY, Roger 64
BOYCE, Richard 110
BRODERSON, Morris 164
BUNCE, Louis 1 34
CADMUS, Paul 55
CASTRO-CID, Enrique 76
COHEN, George 178
COLLIE, Alberto 167
CORNELL, Joseph 1 83
.156
DE KOONING, Willem 177
DOLE, William 79
DUBIN, William 86
DZUBAS, Friedel 159
FINKELSTEIN, Max 122
FLEMING, Dean 118
FLORSHEIM, Lillian 107
FORAKIS, Peter 82
FRANKENTHALER, Helen 163
FREEMAN, John 123
GALLO, Fronk 128
GEORGE, Herbert 1 60
GEORGES, Paul 44
GOOCH, Gerald 54
GRANT, James 62
GUSTON, Philip 181
HARTIGAN, Grace Ill
HARVEY, Robert 106
HATCHETT, Duayne 50
HELIKER, John 155
HINMAN, Charles 119
HULTBERG, John 57
INDIANA, Robert 46
INSLEY, Will 90
JARVAISE, James 114
JENKINS, Paul 124
JONES, Howard 91
JONES, John Paul 115
KAISH, Morton 1 72
KAMIHIRA, Ben 51
KAUFFMAN, Craig 1 30
KAUFMAN, Donald 174
KIENBU5CH, William 74
KIRK, Jerome F 112
KISHI, Mosatoyo 83
KITAJ, R. B 87
LAING, Gerald 63
LEVI, Josef 78
LEVINE, Jack 60
LIBERMAN, Alexander 170
LYTLE, Richard 132
MAHAFFEY, Noel 100
MALLORY, Ronald 1 80
MARDEN, Brice 138
MC LAUGHLIN, John 102
MITCHELL, Joan 94
MONTE, Jomes 139
MOTHERWELL, Robert 152
MUELLER, George 120
NELSON, Robert A 72
NESBITT, Lowell 151
NOLAND, Kenneth 43
OKADA, Kenzo 135
OlITSKI, Jules 103
OLIVEIRA, Nathan 1 82
OSTLIHN, Barbro 148
PALATNIK, Abraham 52
PEARISTEIN, Philip -SO
PINKERTON, Clayton 176
PORTER, Fairfield 1 54
QUAYTMAN, Harvey "
RAFFAELE, Joe 48
RANDELL, Richard K 1 79
RATTNER, Abraham 92
REMINGTON, Deborah 1 66
RICHARDSON, Sam 126
RIVERS, Lorry 147
ROSENQUIST, James 168
RUDA, Edwin 71
SAVAGE, W. Lee 150
SCHANKER, Louis 171
SCHAPIRO, Miriam 59
SCHMIDT, Julius 116
SCHNACKENBERG, Roy 104
SEYLE, Robert Horley 1 27
SHAPIRO, Daniel '5
SHAW, Kendall 158
SMITH, Vic 1 75
SNOW, V. Douglas 70
SUNG WOO CHUN 67
THIEBAUD, Wayne 140
TOVISH, Harold 146
TROVA, Ernest T 88
VAN BUREN, Richard 108
VARDANEGA, Gregorio 47
VASA (Velizar Mihich) 58
WARHOL, Andy '6
WILLENBECHER, John 42
YOUNGERMAN, Jack 131
ZAMMITT, Norman 1 43
:1W
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