:'>f^-
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'^^
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c^.
1969 University of
Illinois at
Urbana-Champaign
jS'i----.--:r'f--=
'ik':J^^^^
JACK W. PELTASON
Chancellor of the University of
Illinois,
Urbano-Champaign
ALLEN
Dean
S.
WELLER
and Applied
Arts
Museum
JURY OF SELECTION
Allen
S.
E.
Weller, Chairman
Frank
Gunter
Shipley
James
R.
MUSEUM
Allen
S.
STAFF
Weller, Director
Muriel
B. Christlson,
Associate Director
Mary
B.
DeLong, Secretary
L.
Tamasine
Wiley, Secretary
Raymond Perlman
1969 by
A48-340
Cloth:
252 00000 5
Paper:
252 00001 3
Acknowledgments
^.
f
h.r\
-r^Xo
The College of Fine and Applied Arts and
the Krannert Art
Museum
are grateful
to
New
York,
New
York
Marlborough-Gerson Gallery,
Fairweother Hardin Gallery, Chicago,
Illinois
Inc.,
New
those
who have
this
lent paintings
ture to
exhibition
of
York,
Dr.
New
York
Thomas
A.
Mathews, Washington,
the cooperation
collectors,
the following
galleries:
Illinois
D.C.
museums, and
ACA
Golleries,
New
York,
New
York
New
York,
California
Inc.,
Chicago,
New
York,
Aldrich
Museum
of
Contemporary
Art,
Illinois
Ridgefield, Connecticut
Inc.,
New
York,
Inc.,
Palm
W. Anderson,
Atherton,
New
York
Illinois Illinois
J.
Pascoe, Tacoma,
Ankrum
Washington
Gump's
York
Quay
Dr.
Babcock Galleries,
New
York,
New
California
New
York,
Illinois
Illinois
New
York,
&
Co.,
New
York,
New
York
New
York
New
York,
Edward Kienholz,
Los
E.
Bernard, Lafayette,
Angeles, Californlo
M. Knoedler & Co., New York
Dr.
Inc.,
New
York,
Black,
Columbus, Ohio
New
York,
New
York York
New
York York
Stoempfli Gallery,
New
York,
New
Galeria Bonino,
Ltd.,
New New
York, York,
New New
Kornblee Gallery,
New
York,
New
York York
Kroushoor Galleries,
Felix
New
York,
New
Inc.,
New
York,
New
Landau Gallery,
Los Angeles,
York,
New
Comoro
-
York
Gallery, Los Angeles, California
California
Landau-Alan Gallery,
Dr.
New
York,
New
York
t~^^
New
York,
New
Levine,
New
York,
New
York,
Terry Dintenfass,
New
York,
New
York
New
York,
New
York,
New
York
New
Dwan
York
Gallery,
New
York,
New
York
Howard Wise
Gallery,
New
York,
New
York
Purchase Awards
1948
LEONARD BECK EUGENE BERMAN
1951
1957
DAVID ARONSON
1967
JOHN BATTENBERG
WILLIAM BAZIOTES
JACOB EPSTEIN
ELIAS FRIEDENSOHN
RAYMOND BREININ
JOSEPH DE MARTINI
JOHN HULTBERG
WILLIAM
PHILIP
J.
GORDON
MORRIS KANTOR
LEO
WOLF KAHN
CARL MORRIS
GUSTON
MANSO
HAZEL JANICKI
KARL KNATHS
MATTA
CHARLES UMLAUF
JOSEPH RAFFAEL
JULIAN
E.
LEVI
NICHOLAS VA5ILIEFF
LESTER O.
SCHWARTZ
1959
LAWRENCE CALCAGNO
1949
CLAUDE BENTLEY
LOUIS BOSA
FRED
1953
SAMUEL AOLER
FRED FARR
JONAH KINIGSTEIN
RICO LEBRUN
TOM BENRIMO
CAROL BLANCHARD
CARIYLE
CONWAY
ARTHUR OKAMURA
REUBEN TAM
JOHN HELIKER
CARL HOLTY
RICO LEBRUN
WILLIAM
BROWN CONGDON
WALTER MURCH
RUFINO TAMAYO
1961
ARTHUR OSVER
FELIX
LEONARD BASKIN
CHARLES BURCHFIELD
RUVOLO
YVES TANGUY
1953
ROBERT
L.
DAVID PARK
GRILLEY
JULIUS SCHMIDT
YNEZ JOHNSTON
1950
MAX BECKMANN DEAN ELLIS
FREDERICK
S.
1963
STUART DAVIS
ROSZAK
FRANCK
BEN SHAHN
ROBERT
GWATHMEY
MARGARITA WORTH
1965
JAMES BROOKS
PAUL JENKINS
HANS HOFMANN
CHARLES RAIN
1955
RALPH
S.
ABRAHAM RATTNER
HEDDA STERNE ANTHONY TONEY
DU CASSE
ERLE
LORAN
FRANK DUNCAN
SALVATORE SCARPITTA
LEONARD EDMONDSON
MORRIS GRAVES
MARGO HOFF
ROGER KUNTZ
GEORGE RATKAI
KARL ZERBE
Sales
Many
of the
works
in this
Museum
office.
in
of priority
purchases
made from
the exhibition.
W-'^
^te:.^.
The New
Artist
in
which the
reis
stylists
another group of
artists
today?
On
we
on the whole, a
energies
in
directs
its
very
artists
who seem
efFect
to
deny
These
artists
completely aclife
its
on them by
not neceslife,
which
an almost
sarily
total rejection of
it.
This
is
bad.
as an
Old ideas of
self-expression,
and
to
still
activity.
them.
to them,
is
less
the
kind of
This group,
have
historically
made
of
the objects
and places
If
than
it
is
is
handled
react to
life
experiences
This
in
highly
individualistic
manners.
be
incorrect:
in
most
and themes
strong
individual
talents. art
Much
of
the
abstract
and non-objective
for
two
if
the
this
basic category of
deliberately
who
places
and
self-expres-
an
in
earlier period.
We
periences.
When
he does
so,
however,
it
is
the
his
plicit
and
essential in
all
and
quality
When
they are
Such an
artist
tends to be highly
relationships, to play
the
to
same theme. To
Such
be an investigation
accept
their
surroundings
almost
com-
is
often
done
in
pletely,
terials
embracing themes,
attitudes,
and maartists
an
intuitive fashion.
as
The
its
He bears
little
pressionists of the
immediate post-World
War
in
II
seems to be the
the
third
tendency emphasizes
technological
more remote
in
past.
artist
creates
discipline
and
focuses
upon
very
pure
and
and
mind which
is
utterly different
from
new
realists,
these
artists
have abandoned
that which
we have known
heretofore.
The cur-
goes beyond
individualism,
tion,
its
own
sake,
and
the
us that
it
is
more important
to
be relevant,
it
strictly
own
terms.
In
many cases
to
be "real"
in
is
to
artist
is
lator of
media.
The new
artist
is
in
a variety of ways
personal
engaged
seem
he
signifiis
cant to him, he
today's
tuned
in,
he
is
hip,
using
to
pro-
historic
iconography proof
the
artist's
duce
art
duced.
physical
here
such
traces
but of
"now."
mind runs parallel
all
his
This state of
to the
demands
whether by using
of young people
and govchurch,
life
ernance,
the
educational
system,
the
all
of these organiza-
by someone
of
identical
art,
else, or
by making a certain
of the
number
and
to
objectives
in
replicas
same conception.
seems
many members
Minimal
and
its
young
political
and educational
artists
however,
many young
are
doing much
aesthetic
and
its
ways.
Even
in
many
is
artists
to obtrude themselves.
seek
same
thing
in
many
today
vioin-
today?
social
outlets,
the
war
in
Viet
Nam,
police
brutality,
As a
result of
lence,
racism,
materialism,
sexuality,
man's
conditions
new new
intentions, of
life.
kind of artist
much
in
evidence today.
often an undercurrent of
deep concern
and
The sculptured
deaths of a
number
of
public
figures
human
is
figure,
obviously
made a profound
The
first
impression on
many
is
cast in epoxy.
young
artists.
of these
was the
suicide
We
may
corner, or that a
off,
is
Bobby Kennedy.
expressed
to
in
any
And
this, to
some,
epic protimely
is
portions,
typical,
or
finally self-determined.
For
some of
and ex-
whether
artist
many
mobiles,
modern
is
natural that
some are
attracted by
life.
the
to
create a
new
icono-
of
these
influences,
many
it
of them
is
graphy.
in
is
contradictory
and equally
influential,
perIt
plexing to
is
know
not clear
how Robert
Many
artists
expe-
American
automobile
his
huge,
carefully
to
mood seems
The
artist
be one
make.
can
in
presents the
and
assist
them
The leaders of
artistic
move-
out comment.
Or do we
image been
subtly
exaggerated
convey grosspraise of
else.
Or
is
this in
more
Dream"?
life
and
means.
By
using
the
and
evil,
and the
materials,
temporary
epoxy,
technology
acrylics,
polyesters,
vinyl, stock
lights,
computers, thermoformpolaroid,
programmed
sequences,
spray
kind
of symbolism
by which
artists
tions.
lays,
objects
by professionals from
blueprints,
above.
tures of
the
new
artist
darkness, involve us
tions
in
or beauty.
it
was
understood
All
inside
soft
is
and
outside.
of the
is
new
minds
forever closed
All of
to us in a physical sense.
anything else.
artists,
handle
in
and museums,
Sometimes the
immediate
impulse
accomplished
by
using
which
is
frequently remarkable.
With the
times.
John Batten-
fading
away
Wing
conjures memories
War
is
now necessary
to
frail aircraft,
examine
carefully
and
in
deadliness of the
macabre game.
Robert Hud-
many
recent works:
no
in
longer adequate.
these works force the
A good many
not be
looking for
of the themes
it is
not kinetic,
it
seems ready
lift
could
us, to
a beam.
new
artist is
he subscribed
Other
examples
are
Tony
Smith's
geometric
casts
architectonic sculptures
of
human
figures in
revulsion for
effectively in
war
be stated
All
suggest
artistic
it
is
a fundamental rejection of
illusion
as an
is,
by Peter Saul
deliberately
clashes,
Viet
Nam
series, in
which he
art
is
what
it
not what
invokes
violent
and
of the
insensitive
impersonal
handling
medium,
totally
different
detail,
deliberately
ways
is
either
consciously
or
unconsciously
in-
forms,
inharmonious
color
combina-
avoided.
The
artist's
corporated
the
and
violent
activities
an almost completely
its
nonhumanistic
peculiar
way
is
precisely this
mobiles
of
John
Chamberlain,
the
motorcycle
Perhaps
this
tendency
is
this
It
related
to the
procedures of composers of
is
a very
musique
concrete,
who
introduce
the
taped
the
either
illus-
assurance,
audacity,
are
more
essential to the
new
aesthetic than
compo-
artists
has
scientific
and
and
capabilities
which
in
the arts.
Some
and
far
steel
is
an unin this
physicists.
when handled
laboratories
way. The vast environments of Harold Paris astonish us in terms of the shapes, textures, joinery,
manufacturing plants.
Many have
the educational
to seek
and
and
finish that
he obtains from
his
compounds of
are
not
plastic
and rubber
materials which
the development of
manufacturing methods.
On
is
times.
Many
of
them ore superb technicians, demanding of themselves in terms of theory, procedure, underlying
structure,
work
is
enlarged by a
in
spiritual
content which
its
unexpected
relationship
to
style
and
form and
finish.
structure.
Earl
Such
men
ore,
technologically speaking,
in
before devoting
time fully to
art.
He has
They respond
light
since boyhis
and
confi-
dence.
patent, "Device
and Method
for Producing
In
Disc.
While at
them
use.
in
called for
commercial
of Technology he
made
An obvious
young
artists
many
in
this
evolved
his
luminage
studies
that most of
sculptors.
the
and
of
kinetic
luminage paintings. He
techniques
made
broadest
sense,
increasingly
Is
radiation
and
light
crystal
into
structures
work
in
a three-dimensional way.
this
partly
a variety of
age
of which
we
are a
part?
Certainly
this,
engineering as well as
Beyond Modern
as
well
as on
technical
procedures.
and
tech-
is
outstandis
demand upon
Three-dimenhas
challenging
with
few exceptions,
always
future of three-dimensional
artist
in
art.
The
sculptor,
metal
that
in
it
terms of
is
fitting,
joinery
and
finish,
difficult
to
believe
work
is
these
elegantly
curved,
sheet steel
built
hollow
forms
were
many
different posi-
hammered from
ing,
tions has
much as custom
and
even
in
and
traditional materials
as
wood and
stone.
when he
New
skills,
and equipengineers,
Bauhaus
in
Chicago.
Gyorgy Kepes,
Light
assisting
ment
similar to those
employed by
civil
architects,
and
contractors.
of Design.
writer
an
experimenter
in
and
were importantly
to
be technologically successful
be brought
instrumental
to completion.
After there
in
World
War
II,
and
until
of European artists
this
excitement and
his
doubts as he
Perseus
is
country.
How-
his
a
of
ever,
the
early
1960's,
and
particularly
of
technological
If
daring
rather
than
aesthetic innovation.
painting
had been
his
light as
art
among younger
artists
is
one of
Why?
form
offering
is
It
in-
The visual
art
the
artist
the
many
reasons,
all
that
we have
our
it.
use of
artificial
light.
While
have been
changed,
artist
and audience
alike, in
atti-
tude toward
are
art,
We
is
one
light
may
ask
"Why,
considering
that
to
This
an
important
the
manifestation
of the
new
aesthetic,
sensibility.
apparatus to control
in
it,
is
tantly to this
change of mind.
blatant images
a recent development?"
From
the third
what
art
is,
and
Op
Art
assisted
in
the
destruction.
However,
until
the
twentieth
century,
we
believe,
was
the theoretical
a "second generation"
in
comparison to those
employed.
recall
Many
early
of us
public
of
sufficient
age
will
the
more
interesting,
more
sophisticated,
presentations of
ing, cloud-like
forms
grams are
within
their
repetitive, there
far
more
variety
a luminous screen
showings, the
siderable
first
in
a darkened room.
in
These
respective
cycles.
in
given
mands
richness
and
variety
music, theatre,
and
public
films, all
of which are
programmed
In
with a defi-
waned, and
nite
contrast to these,
much
Bauhaus
of
a bore after a
recall us for
is
moment
or
associated
in
with
the
even a second
were
seriously
interested
the
possibilties
Randomness
deliberately
programmed
light as
an
art form.
One
many
light pieces
to this problem.
Prentiss
is
durability, the
domness
is
more
than
immediately
is
discussing his
his
perceived repetition
very interesting
the
essential
in
a program which
place.
not
luminal
the
first
Unfortunately,
patterns
of
many randomly
also
pro-
visual variations,
circuit
he
first
de-
grammed
light
sculptures
ore
so
quickly
perceived that
we
Fletcher Benton
has solved
this
problem
su-
nents of
maximum
durability.
his
Only
after this
to
its
was
done did he
potential.
is
turn
attention
visual
and
even
as
stationary
objects.
The
multicolored
characteristic
many
of these works,
all
and
metal loop
in
concerned.
with
base form a
moving,
it
compared
contemporary totem.
When
is
and
forth
and
quire
and value so
and evaluate
never
adjustment
will
in
our thinking.
require
Lamps and
we
strain to perceive
motors
eventually
replacement or
what
rests,
is
happening.
colors
This superimposition
servicing.
We
and the
of art
will
mechanical appliances.
in
state
of de-
also so variable
return again
One
jects
is
of the most distinctive of these light obthe softly glowing tracery of Jack Burn-
and
we
and
again to study
movement.
While we soon
ham's
luminescent
tape
ribbon
us.
Its
of
light
relationif.
shapes of
light,
color
Channeled
tape
is
black-sprayed aluminum
strips,
the
interest
sustained as
when we
listen
with re-
so light
and simple
that
it
was used by
a
recital
newed enjoyment
to a musical
times.
performance that
in
of
member
in
Other por-
which use
light in totally
new
perceive
infinity.
What
lights
appear
disappear
It
as
in
literally
thousands of tiny
lines into
straight
It
Wen-ying
Tsai
and the
surprising
programmed
deepest space.
is
beautiful.
Similarly,
is
an
TV images of
Nam
June Paik.
light
object
for
contemplation.
Charles
The potential of
however.
Light
and minds
reflections
info
infinite
space.
forever.
The twinkling
is
appear
to
go on
We
perceive
can be used as
changes of mood,
sheets affects
all
in
which
light as
beams and
within
its its
screen.
When one
same
objects
and space
source.
to operate
and respond
to
think in terms of
is
needed
be tech-
the future
and computer-
display devices.
When
laser
light
beams are
any
is
a special kind
general basis.
kind
One can
of technological
if
breakthroughs might be
seen
in
three-
brought about
dimensional
reality.
it
The
money
fraction
tion,
that
goes
military
in
research,
or a
image appears
be three-dimensional;
may
of that represented
space exploraartistic
similar progress
we
one wave
must
length.
At present the
to
objects
shown
appear
come
one color
is
apt to occur.
it
primarily
is
a matter of
When
finally
perfected and
actions,
if
made commercially
feasible,
laser
images may
appropriations
are
measure,
have
And
industry does
unless a
is
remunerative, com-
institu-
clearly foreseen,
which
is
we were prepared
in
to project
connection with
this exhibi-
we
utilizing
art,
spectrum of ideas,
styles,
many
young
artists
seem
is
to
lie
in
the
man-machine
ments.
rapport which
times.
Kinetic
and luminal
objects
for
much larger
of
for
appear
engage
their attention.
within these
se-
Computer
devices
offer
the
new dimensions
vere obstacles.
All
confronts
many
artists with
artist
discovers
tech-
nological level.
Although
in
programmed
and
tactile effects,
from the
artist
and from
To
needed
in
plan-
about
inter-
satisfactorily achieving
them.
artists
art.
basis.
in
Art
and Technology,
Inc. (E.A.T.),
difficult
pro-
major
this point.
in
collabora-
the tra-
among
artists,
engineers,
in
and
industry.
now
A
a
cal
cial.
the development of
utilizes the physiis
new
language which
refraction,
and
reflection are
finan-
needed
produce technological
art
ore very
phenomena
in
areas
which he
individual artists.
siderable success
pliers
in
close associ-
various bulk
and
it
kinetic
in
and luminal
pieces, as
of experimenting
directly with
as assistance
their designs.
and
to gain theoretical
knowledge.
nological
art
continues
to
present
artists
with
A number
of the
staff
extremely
difficult
problems.
Vacuum
platers,
coatings on sheets of
in
scien-
or technological experts.
recent proposal
states:
which
we admire
a
in
his light
boxes, cost
to thirty
thousand dollars.
physicist,
employed by a
its
my
concerns."
which
is
superb
Such a statement
is
reflects
It
plater
his off
If
hours for
universities
conditions of art,
new
necessity.
difficult
on
their staffs,
it
will
where they
It
and
scienis
establishes
useful
contacts
is
with
suppliers
and
Their greatest
and most
persistent
need
to
similar interests
on
He
dele-
He can
designs or plans to a
own more
ment.
and equip-
He
uses the
new
materials
experimenting with
largely
mechafor
thermoformed
plastic sheets,
along
the lines of
technological
culture
has
for
created
purely
commercial
reasons
quite
different
cost-
com-
mercial suppliers.
Bailaine
was able
in
to build his
who developed
these materials
and methods,
own
for
much
less,
but this
itself is
no mean
thermo-
and even
been
told
technological feat.
Experimentation
in
of his work
big
in
scale, ambitious
in
intention,
his
produce, generally
Many
artists
of
this
new
artist
can experiment
Many
painting
and
lighting
been
Many
in
of the artists
and power
ing shop.
cially
tools, or
the
present exhibition
tional abilities
cost as to
Harold
Paris,
discourage experimentation.
Artists like
Norman
Many
others
come
to
their
work
in
a specially
mind
room"
Peter
Voulkos,
Howard
Jones,
Andy
room with
electrostatically filtered
air in-
The technological
demands
organizational
is
sheets.
a systems orientation
striking characteristic of the
is
the
new
tion
artist
is
his
work produced.
It
is
tioned to the
the past to
way most
artists
have worked
in
traditional artist's
visit
He
is
new
artists.
One
a team
effort,
The new
artist
is
Oakland
his
home and
studio
is
typical
He
center the
artist
is
He has
also
visit to
is
lot
adjacent to the
Voulkos
to both
layman and
average
supermarket,
one-story
is
industrial
ideally situated
and
for shipping
the
titions
and
in
is
materials,
and
various stages
actually
terials
crowded with
and
heavy
ma-
of development.
dominated by
his
equipment
of
large-scale
a huge autoclave
mon-
clay,
and sand
the entrance
fork-lift
and
pressure
and temperature.
this
A man
powered
of sand
into
is
monstrous piece of
and several
casting area.
for
lifting
smaller autoclave
the
Nearby are
polishing.
for experimental
tion
pieces,
facilities
for
welding,
and
is
form and
The establishment and supervision of such production centers requires truly exceptional
gerial abilities.
many
of these experiments.
is
mana-
Harold
ing
Paris'
workshop
by Voulkos,
and warehouses.
them large,
vide
it
and as business
but
it
enterprises.
Some
freIn
good
studio
may deplore
this,
is
fact.
They must
Work
it
tables
and
quently employ
actuality they
equipment
fill
the
rooms and
is
not easy to
may
act as contractors,
subcon-
thread one's
way through
it
is
is
issuing
blueprints
and
care.
specifications,
and
is
no accumulated
is
or waste,
calculating
costs
with
materials, labor,
and
plastic, rubber,
for
room-environments,
may
ore
dollars.
Monu-
examples of
his
constructions
(which
various stages of
well-organized production
In
building
his
the
reflections
and
refractions of
moving
light
earthworks
(which
hardly
be
included
City
in
and
color)
is
museum
exhibitions)
Kansas
sculptor
own crane
with
backhoe
or by the invocation of
new, about
fifty
thousand
dollars),
and on
The
exceptionally large commissions must also contract for the services of bulldozers,
and
satisfaction in solving
a material
power shovels,
or physical problem
industrial
earth-moving equip-
with his
at times to
or rented,
in
the con-
loom
very large
of most
in
artists.
Because of
this,
ing
work which
will
strike
some of
us as bleak,
and pro-
something which
it
not.
actually needs
to function creatively,
must have
and
skills
to
persuade
While the
qualities
and
characteristics cited
to
mind by work
back
support and
gifts
highly formal
and
usually nonrepresenta-
of materials, equipment,
and
technical assistance.
social sci-
represents
is
we
see
in
much
who con
of the
proposals
or
otherwise
secure
major financial
increasing frequency.
striking
phenomena
Many
new
artists
hove
this
ability.
Without
it,
the artist
who
aspires to ex-
independent means or
source,
is
is
subsidized from
some
marked
in
this
artistic abilities.
is
by no means
or
All
is
merely
illustrative.
certain
Philip Pearlstein
and the
strongest
young
artists
which
is
of a different
new approach
visual
of which
experience.
On
the
one hand,
new
aes-
and
which the
in
past.
artist is
working:
illusion
(when
it
emerges, as
and
seeing.
This
is
perhaps the
its
first
generation
obvious
in
the paintings
it
is
oil,
paintings,
not
primary visual
or
foil
photographic
, .
and
must
succeed
as such.
of
I've
sibilities
I
photographic images
pointing
point-on
some
of
that
is
haven't yet
photographic
color
emulsions,
photo-serigrophy,
filter
distortions
artist
sees
through
is
printing,
medium.
The
photograph
no
or
artist,
in
an-
a mode of
dealing
spiritual
with
total
visual,
intellectual,
and
examples of
earlier
works of
art.
John
experience.
Clarke
painting
makes no
is
secret
rather than
is
with
the
built-in
equipment
is
which
ably
This
probof
unexpected spectacle of
recent tour of
the
explanation
for
the
combination
is
a hard-edge Eakins.
galleries
New
York
violence
so
often
en-
countered
come
directly
from Vermeer.
as
The
illusive
is
memories of works of
of the world of nature.
The current
many
cating
called hard-boiled
and tough.
is
Painting
and
sculpture in particular
Peter Holbrook
are
now evidencing
that
so
gone
method of
possibilities
the
curriculum
no
is
of these directions.
To many
helps
interpret
many
recent works.
He
young
narrow.
artists
seems technically
not
the
limited
and
writes as follows:
I
Should
large
comprehensive
five years,
about three
is
not
one
offerings
curricula
resources, offer
one
of reproduction
is
and editing
photo-
would
permit
great
in
many
con-
The work
painterly
its
but should
t
always refer to
source
the
a
graph,
thing
I
depending
OS fantasy (o figment
that
of
my
imagination),
visual
on
his interests
in
and
aptitudes, a concentration of
because
fact
he
knows
the
lie.
material
represents
the
to
(I
camera doesn't
As
I've
courses
traditional
my
mane
lime
photogrophy
proof
is
sheets,
images
am
many
or
exposures,
lens
distortion,
stop
to
the
to
subject
the
action, etc.
rigorous
fields,
training
demanded
some of these
to should
If
this
is
immediately
but those
be
intel-
needs.
is
in
another
field
against
becoming
seriously
involved
who meet
medical
demands
of such a program as
artistic
with
artists,
frivolous to
art,
and
them.
scientific training at
One
the
response to greater
in
ricular flexibility
would be so obvious
to
everyone
initiated
three-dimensional expression
that these
fine arts,
years ago
institutions with
is
the necessary
have altered
strong resistance
heartily
dislike
such
change.
Many
artists
tools,
in
who
believe
is
today
object
if
science
and
dimensional
activity.
ments
in
art.
draw
or paint less
even
above,
incorporating
the
changes
mentioned
electronic circuitry.
who
desires eventually to
level with light
work
at
a relatively sophisticated
electronics,
presents us with
many
implications,
First
and motion,
questions.
of
all,
it
in fact,
narrow and
still
ex-
temporary
artist
art.
intuitive
acts
who
is
struggling
with
some of these
to what,
art
been
rejected
fit
by
is
many young
scientific
in
Elegance of
and
finish
his
opinion,
good
school today.
He
was
the
It
artist) in
concerned,
center of a
it
would
be situated
right
in
many examples
of
technological
art.
good department of
physics.
if
is
many
pieces
hardly necessary to
add
that few,
any,
art
remotely
At times
one
is
is
much
be seen at
all.
operation,
perts in
is
very
difficult
to bring about.
in
Ex-
all
fields
what
is
their surfaces
and
finish
them
to
drop
There
or dust,
become unacceptable
tors
distractions.
Museum
and
direc-
We
and
know
Sol
Tony Smith
the
are increasingly
aware of
the hazards of
installing
LeWift are
made by
others from
designer's blueprints.
We
have been
told that
many
One may
one
run
fewer
difficulties
produced
a workshop by a group
with
a gleaming
fection
man by
will
supervision.
of which
obviously be violated by
Would
merit,
in
its
more
artistic
the
slightest
abrasion.
Technological
is
art
must
be more valuable,
final
he by
made each
himself?
if
piece
function
perfectly.
fall
There
no
built-in
manual
form
wholly
Would
she tied
in
apparatus to
back on
if
Zeisler's sculptures
Nothing
duller than
box
How many
Is
Is
it
copies
and
like
work of
art
are legitimate?
there
to provide satisfaction.
limit to their
production,
and why?
artisti-
Museums and
interest
audience
cally
and enthusiasm
sculpture
if
the material
is
is
nological art.
Many
the material
marble?
sculpture
in
bronze
intrinsically
desirable,
artist's
industry, artisans,
and
lay people
than sculpture
use of
and
willingly
usually
these
contributions
have been
given.
paintings, the
projects
that too
he had
Is
it
to create a picture
whose
more
like side
static
critics
develop
setting?
it
an actual
bound
to consider.
become
full
the
new popular
and
art?
Is
art,
created with a
utilization
Works
aspects
new
ings
in
new
surround-
artist
and
in
unexpected juxtaposition.
No
doubt
the public
many more
the exhibition
over.
artist's efforts?
What about
art
James
Allen
R.
Shipley
mode by
S.
Welter
Catalogue
page 42
THOMAS AKAWIE
Southwestern Desert
page 127
BOYD ALLEN
Pajaro Valley
page 137
JOHN ALTOON
Untitled (Harper Series)
page 52
page 62
GEORGE BAKER
Discus B
page 99
JERROLD
H.
C. BALLAINE &Hardart #8
page 70
JOHN
G. BALSLEY
page 147
WILL BARNET
Portrait of
Henry Pearson
page 94
JOHN BATTENBERG
Pfalz
Wing
Section
and Aileron
page 85
10
MARY BAUERMEISTER
This
page 73
11
JACK BEAL
Madison Nude
page 107
12
BRUCE BEASLEY
Killyboffin
page 50
13
ROBERT BECHTLE
60 T-Bird
page
181
14
LEWIS BEKEN
Orgeos
#27
page 146
15
FLETCHER BENTON
Rolling Ball,
R-666
page 135
16
DAVID
Yellow
E. BLACK Wave
poge?J6
17
T.
BRADSHAW
by Giovanni
Bellini
Details
page 95
18
pagel75
19
MORRIS BRODERSON
Sanchez Mejias and Garcia Lorco
page 83
20
WILLIAM THEO
BROWN
page 63
21
BYRON BURFORD
Queen
of
Neon Plugging
In
page 96
22
JACK BURNHAM
Four Unit Modular Construction
page 98
23
PAUL CADMUS
Sleeping
Nude
page 139
24
RONALD CHASE
The Empress of China
page 45
25
Anne, Countess
of Cianbrassil
page 78
26
MAX
Nerisa
COLE
page 778
27
MICHAEL DALKE
Roc-475
page 754
28
NASSOS DAPHNIS
9-68
poge 755
29
ROY DE FOREST
Recollections of a Sv/ord Swallower
paged?
30
WILLEM DE KOONING
Woman
on a Sign
pagel70
31
LEONARD EDMONDSON
Design for a Monument
page
774
32
CHARLES EMERSON
Untitled
1968
Venezia
Series
page 90
33
RICHARD ESTES
Telephone Booth
page 49
34
JACQUES FABERT
Skies Within
page 738
35
AVERY FALKNER
Brand
page 84
36
page 148
37
JOHN FREEMAN
Landscape with Cube
page 123
38
WILLIAM
R.
GEIS
III
A
page 153
Polynesian Reefer
39
GERALD GOOCH
Big
III
page 77
40
SIDNEY
GOODMAN
GOODNOUGH
page 97
41
ROBERT
V
B
page 43
42
JAMES GRANT
Plastic Disk
page 40
43
SANTE GRAZIANI
The Biglen Brothers, After Eakins
page
773
44
STEPHEN GREENE
Blue Line
page 60
45
COLIN GREENLY
K. C.
page 182
46
GRACE HARTIGAN
Modern Cycle
page 59
47
ROBERT HARVEY
Landy and Esther
in
Granada
page 46
48
JAMES HENDRICKS
Detail Lunar Surface
paged?
49
PETER
HOLBROOK
page 105
50
THOMAS HOLLAND
Malibu Series
#32
poge 165
51
ROBERT A.
Landscape
HOWARD
XXII
page 149
52
ROBERT HUDSON
Protractor
page 93
53
RICHARD JACKSON
Untitled
page
772
54
RODGER JACOBSEN
Untitled
page
177
55
LUISE KAISH
Kill,
No.
page 44
56
MORRIS KANTOR
Combine
page 762
57
KARL KASTEN
Capitoline
page 744
58
DONALD KAUFMAN
Spring Green
poge 763
59
KAWASHIMA
"New York
91"
#1007
page 706
60
MASANDO
No.
1
KITO
S.F.
1968
page 79
61
MARVIN KLAVEN
Artist:
Barnet
page 53
62
KARL KNATHS
Whoa
page 56
63
JOHN KOCH
Dora Reading
page 129
64
LEE
KRASNER
Transition
page 156
65
JACK KRUEGER
Atoll
page 145
66
GERALD LAING
Silver Identity
page 109
67
LEROY LAMIS
Construction
Number
151
page 174
68
STANLEY LANDSMAN
Dante
page
119
69
JAMES LECHAY
Portrait of
page 136
70
SOL LeWITT
A2
page 124
71
5 8
GERHARDT LIEBMANN
Pylon
page 179
72
ERLE
LORAN
page 68
73
CLYDE LYNDS
Love Machine,
*2
page 87
74
MANABU MABE
U.S.A. No. 3
page 128
75
RONALD MALLORY
Contained Mercury Line
page 158
76
PAUL MATISSE
Lavender Kalliroscope
page 103
77
DAVID MILNE
Tent
page 88
78
MANSAKU MINASHIMA
#68-25
page 757
79
page 58
80
MALCOLM MORLEY
Christopher
Colombo
K.
page 108
81
GEORGE
Saraband
L.
MORRIS
page
778
82
ROBERT NICKLE
Untitled
page 55
83
ARTHUR OKAMURA
Bolinas
page 784
84
GEORGIA O'KEEFFE
Black Door with Red
page 86
85
NATHAN
Stage
OLIVEIRA
with Bed
*2
page 743
86
GEORGE ORTMAN
Cannon
page 126
87
ROBERT OSBORN
Vietnam
page74
88
NAM
Sorry,
JUNE PAIK
of Success
Is
My
Thing
Is
"95% New."
page
727
89
HAROLD PARIS
Wall Piece
F
page 82
90
TOM
PARISH
page 142
91
PHILIP PEARLSTEIN
The
Artist's
Daughters
page 164
92
VINCENT PEREZ
Cor Door No. 2
page 48
93
Day
page 167
94
CLAYTON PINKERTON
American Hero
page 89
95
FAIRFIELD PORTER
Iced CofFee
page 140
96
ERNEST POSEY
Ecliptic
#160-68
page 159
97
CHUCK PRENTISS
Number
Forty Series
pageTI5
98
JAMES PRESTINI
#159
page 702
99
EARL REIBACK
Lumia
page 125
100
SAM RICHARDSON
Eight Thin Miles of That Guy's Valley
page 730
101
GEORGE RICKEY
Space Churn
page 92
102
page 54
103
VICTOR A. ROYER
Sun Machine
page
770
104
PETER SAUL
Typical Saigon
page 57
105
KARL SCHRAG
Farm
in
the Distance
poge769
106
RAYMOND SIEMANOWSKI
Cardboard Landscape
page 766
107
DAVID SIMPSON
Spectral Flame
poge760
108
DAVID SMYTH
Crown Creation
page 66
109
MARY SNOWDEN
Red Pipes
page 65
110
MOSES SOYER
Portrait of
Marvin Cherney
page 752
111
FRED SPRATT
Allegheny
poge785
112
JULIAN STANCZAK
In
page 76
113
EDWARD STASACK
Red Window Landscape
page 150
114
JOHN STEPHENSON
Bogart
poge780
115
EDVINS STRAUTMANIS
Supercraft
poge768
116
ROBERT LOUIS
Untitled
STRINI
page 67
117
TOMSTROBEL
Spacescape
page 64
118
REUBEN TAM
To Skagway
page 122
119
WAYNE THIEBAUD
Coloma Ridge
page 75
120
HAROLD TOVISH
Vortex
pagel34
121
RICHARD TREIBER
Swick
page 132
122
WEN YING
TSAI
Harmonic Sculpture
*8
page 176
123
DAVID WEINRIB
Circle-Triongle
page 100
124
BRETT WHITELEY
The End and the Beginning
(or the
page 104
125
BRYAN WILSON
Juvenile
Harpy Eagle
page 72
126
JAMES WINES
Zap
page 177
127
GARY WOJCIK
Track
pageJ33
128
ANDREW WYETH
Christmas Tea Pot
page 172
129
pogeI73
130
page 80
131
CLAIRE ZEISLER
Red Wednesday
All
In
inches: height
first,
The dotes
the
in
name
of
artist's gallery,
University of Illinois exhibitions of Contemporory American Painting and Sculpfure in which the artist's work has been included. The location
is
designated as University of
Illinois,
Urbane-
Champaign; of those presented since 1961, as Krannert Art Museum, University of Illinois, Champaign.
The production of the catalogue and the assembling of the exhibition have been supervised by Muriel B. Christison, Associate Director
of Krannert Art
Museum,
assisted
by
Lois S.
and Tamasine
in
L.
artists
whose work
is
represented
Stromberg,
by Mary
B.
De Long,
Secretary. The
been installed by Professor James R. Shipley, Head of the Department of Art, and Frank E. Gunter, Associate Professor of Art,
exhibition has
assisted
Museum
and James
L.
Ducey,
Assistant Preparotor.
40
GRAZIANI
Acrylic on canvas,
35
x 35.
Babcock Galleries,
New
"I
York.
(1948)
into
my own composition
is
It
is
little
like
"The challenge
"In the end,
fascinating
is
and
my aim
to
something old."
Sante Graziani was born in Cleveland, Ohio, in 1920. He was graduated from The Cleveland Institute of Art in 1940. M.F.A. In 1942 he received a B.F.A. degree, and in 1948 an degree, from Yale University, New Haven, Connecticut.
Mr. Graziani
of
Scholarship for Mural Pointing, New York, 1948. He was an Instructor in Drawing and Painting at Yale University,
Art School,
of the E. A. Whitney and he has been Head of the School of the Worcester Art Museum, Mossochusetts, since 1951. He lives in Worcester, Massachusetts.
New
New
York, 1950-51;
special
Museum
of
Fine Arts, Springfield, Massachusetts, 1947; M. Knoedler & Co., Inc., New York, 1948; Mount Holyoke College, South
Hodley, Massachusetts, 1948, 1950; Babcock Golleries, New York, 1962, 1963, 1965, 1967; Konegis Gallery,
Boston, 1964, 1966, 1967; Assumption College and Worcester Art Museum, Worcester, Massachusetts, 1966;
Bristol Art
Museum, Rhode
Island, 1967;
The Berkshire
Museum,
His
Pittsfield,
Massachusetts, 1967.
work has been included in group exhibitions at Northeastern University, Boston, 1963; The Museum of Modern Art, New York, 1963, 1964, 1966; University of
Nebraska, Lincoln, 1964; Audubon
York, 1965; The Pennsylvania
Artists, Inc.,
New
Academy
is
Allentown
Museum, Pennsylvania; University of Massachusetts, Amherst; 180 Beacon Collection of Contemporary Art,
Boston;
New
Britain
Museum
of
American
Art,
Museum
of Art,
and Art, Scranton, Pennsylvania; Brandeis Wolthom, Massachusetts; Worcester Art Museum, Massachusetts; Butler Institute of American Art, Youngstown, Ohio.
History, Science
University,
41
42
AKAWIE
THOMAS AKAWIE,
on masonite, 24 (1965, 1967)
x 60.
Museum, 1962;
Thomas Akawie was born in New York, New York, in 1935. He attended Los Angeles City College and the University of California, Berkeley, where he was graduated with honors in 1959 and received on M.A. degree in 1963. Mr. Akawie has taught at the University of California,
Berkeley, 1963-65; California State College at Los Angeles,
Richmond Art Center, California, 1962, 1963, 1964, 1965; California State Fair & Exposition Art Show, Sacramento, 1962; Western Washington State College, Bellingham, 1963;
David Stuart Galleries, Los Angeles, 1963; Bolles Gallery,
Brooks Hall, Son Francisco, 1963;
Quay
Gallery, Tiburon,
Walnut Creek,
is
He
Museum, University of Illinois, Champaign, 1965, 1967; California State College at Hayward,
Museum
Museum, Newport Beach, 1965, 1966; World's Fair, New York, 1965; Downey Museum of Art, California, 1966; E. B.
Crocker Art Gallery, Sacramento, California, 1966, 1967; Witfe Memorial Museum, San Antonio, 1966; The Fine Arts
Gallery of San Diego, 1966; California Palace of the Legion
Comoro
Museum
of Honor,
Museum
in
Institute, 1968.
In
group
Arts
California;
Comoro
R.
Gallery, Mr.
Robert
F.
Museum
Contemporary
Miss Virginia
Rosen,
New
and Mrs. R. Comoro, Mr. Milwaukee Art Center; York; Mr. Henry J.
JAMES GRANT,
Plastic Disk,
1968.
7"^'! 7"^'
Polyester resin,
Ve
diameter
x 2
depth.
GRANT
43
San Francisco.
(1967)
James Grant was born in Los Angeles, California, in 1924. He studied at the University of Southern California, Los Angeles, where he received a B.E. degree, 1945, and an M.F.A. degree, 1950; and at the Jepson Art Institute, Los
Angeles, 1947-49. Mr. Grant taught at
Pomona
San
College,
He
lives in
Special exhibitions of Mr. Grant's work hove been held at The Pasadena Art Museum, California, 1952;
Pomona College, Claremont, Grand Central Moderns, New York, 1961, 1963; Galleria Pogliani, Rome, 1962; M. H. de Young Memorial Museum, San Francisco, 1963; The Hansen Gallery, Son Francisco, 1964, 1965, 1966; M. Knoedler & Co., Inc.,
of California, Riverside, 1958;
California, 1959;
New
in group Nebraska Art Association, University Nebraska, Lincoln, 1962; Mary Washington College
E.
B.
Mead
Corporation, Atlanta,
Museum,
University of Illinois,
Champaign, De Tering
York; La
New
Museum
The Museum of Modern Art, New York; The Pasadena Art Museum, California; Idaho State
of Art, Los Angeles;
&
Corporation,
work
is
in
Mead
and Mrs. Peter Selz, Berkeley; Dr. and Mrs. Seymour Sllve, Cambridge, Massachusetts; Pomona College, Claremont, California; Mary Washington College of the University of Virginia, Fredericksburg; The Pasadena Art Museum, California; Bonk of America Notional Trust ond Association, Bonk of California, Son Francisco Museum of Art, San Francisco; University of the
Atlanta; Dr.
Pacific,
Stockton, California.
44 I
KAN70R
IdH.I'^
Oil
on canvas,
York.
New
60x55.
New
(1949,
McNay
Art Institute,
He
Academy
Independent School of
New
York, under
Philadelphia, 1962.
Mr. Kontor's work
is
He has taught at the Art Students League of New York; The Cooper Union School of Art and Architecture,
in
Homer
Boss.
Illinois,
Urbana-
New
York.
special
Michigan, Ann Arbor; Kronnert Art Museum, University of Illinois, Champaign; The Art Institute of Chicago; Davenport Municipal Art Gallery, lowo; The Denver Art
New
exhibitions of his work hove been held at the Rehn Gallery, York, since 1929; Bertha Schaefer Gallery, New York,
1959, 1962, 1965, 1967; Grinnell College, Iowa, 1962; Comoro Gallery, Los Angeles, 1962; University of Minnesota, Duluth,
Museum; Des Moines Art Center, lowo; The Detroit Institute of Arts; Westeyon College, Dover, Delaware; Fort Wayne Art Museum, Indiana; University of Nebraska, Lincoln; The Newark Museum, New Jersey; Art Students League of New York, The Museum of Modern Art, Whitney Museum
of
American
Art,
New
in
many group
of Art,
exhibitions including
Institute, Pittsburgh,
those at the
Museum
Carnegie
1931, 1932, 1934, 1936, 1938, 1940, 1941, 1942, 1943, 1944,
Urbana-Champaign,
Collection,
Fine Arts,
Washington, D.C.; Wilmington Society of the Delaware; Worcester Art Museum, Massachusetts.
''3 J:
CLARKE
45
JOHN CLEM
CLARKE, Von
Oil
o^ Cianbrossf/, 1968.
Kornblee Gallery,
New
York.
in Bend, Oregon, in 1937. He Oregon State University, Corvollis; Mexico City College; and at the University of Oregon, Eugene. For several years Mr. Clarke traveled in Europe. He now lives and works in New York, New York.
A
in
Gallery,
New
York,
in
1968.
group exhibitions
at
work was held at the Kornblee His work has been included the Whitney Museum of American
Art,
New
York, 1967-68;
New
Wisconsin, Milwaukee,
1968;
1968; The
Museum
the University of
and
at
in
Marc Moyens,
New Cancan,
New
Winnetko,
Illinois;
Mr.
46
HiNDPJCKS
JAMES HENDRICKS,
Acrylic on canvas,
White Gallery,
New
York, 1968.
48
New
"I
York.
Little
Rock, 1961;
work from NASA photographs of the moon. These photographs sent bock from the lunar probes provide us with close up information about the moon's surface which we have never seen before. In my paintings, these photographs serve as initial starting points from which depart to a degree depending on the particular painting and the dictates of that work. The excitement of working
I
Arkansas
1964;
Des Moines
The University of Iowa, Iowa City, 1964; Container Corporation of America, Rock Island, Illinois, 1964;
University of Saskatchewan, Saskatoon, 1964; Sophia Art
present on the
moon seems
to
fit
Hope College, Holland, Michigan, 1965; Mount Holyoke College, South Hadley, Massachusetts, 1965; Hinckley and Brohel Gallery, New York, 1966; Augustana College, Rock Island, Illinois, 1966; Buena Vista College,
Center, Tokyo, 1964;
plus
the hopes
and aspirations
of the discovery of a
in Little
new world."
Illinois,
He
New
York, 1968;
New
where he received a B.A. degree in 1962. In 1964, he received an M.F.A. degree from The University of Iowa, Iowa City. He has taught at The University of Iowa; Mount Holyoke College, South Hadley, Massachusetts; and he has been teaching at the University of Massachusetts, Amherst, since 1965. He lives in Amherst, Massachusetts.
Mr. Hendricks has received several awards,
Oswego,
Florida, 1968.
is
in
New
York;
and
special
Andrew
and the University of Massachusetts, Amherst, 1966; Hinckley and Brohel Gallery, New York, 1966; Wilbraham Society, Wilbraham, Massachusetts, 1967; Ruth
Society of Amherst,
and Mrs. B. Oren Fletcher; The Hon. and and Mrs. Joseph Longlond; Mr. and Mrs. Roger Millen; Mr. and Mrs. Claude Penchino; Mr. Rubin Reif; Mr. and Mrs. Vladimir Saikovic.
Fetler; Mr.
c
I'
DE
J\s>
\
KOONING
47
\oo
/,
1967.
Oil
is in
many
private
j.
M. Knoedler
New
York.
(1952, 1967)
in
of Art; Albright-Knox
Rotterdam, Holland,
He studied
at the
Hill,
Mountain
New
The Springs,
Museum, Kansas City, Missouri; University of Nebraska, Lincoln; Mr. John Becker, Mr. Alexander Sing, The Brooklyn Museum, Dr. and Mrs. John A. Cook, Mr. Edwin
Gallery-Atkins
R.
of
Modern
New York, 1948, 1951; The Arts Club of Chicago, The School of the Museum of Fine Arts, Boston, 1953; Sidney Janis Gallery, New York, 1953, 1956, 1959, 1962;
Martha Jackson Gallery,
Whitney Museum
of Art,
of
Institute,
American
Art,
New
York;
Museum
Louls;
Carnegie
New
York;
New
Washington University,
St.
New
Goodman
Gallery, Buffalo,
Inc.,
New
York, 1967.
in
Museum
of
Modern
Art,
New
Museum
Gallery,
of
American
Art,
New New York, 1943; Whitney New York, 1948, 1955, 1958, 1959;
New
Samuel M. Kootz Gallery, New York, 1949; The Virginia Museum of Fine Arts, Richmond, 1950; Colli'ornia Palace of the Legion of Honor, San Francisco, 1950-51; The Art Institute of Chicago, 1951, 1954, 1956; Golerle Nina Dousset, Paris, 1951; Museu de Arte Moderna de Sao Paulo, Brazil, 1951,
1953; Albrlght-Knox Art Gallery, Buffalo, 1952, 1957; Galerie
de France,
Paris, 1952;
Museum
of Art,
Carnegie
Institute,
Art,
1960; The
Columbus Gallery
Walker
Museum
of
Contemporary Arts, 1961; Nelson Gallery-Atkins Museum, Kansas City, Missouri, 1961; The Brooklyn Museum, New York, 1961; The Solomon R. Guggenheim Museum, New York, 1961, 1964; San Francisco Museum of Art, 1961; Stedeiljk Museum, Amsterdam, 1962; Wadsworth Atheneum, Hartford,
Connecticut, 1962; The Montreol
Museum
Canada, Ottawa, 1962; Smith College, Northampton, Massachusetts, 1963, 1964; Fogg Art Museum, Cambridge, Massachusetts, 1964.
Notional
of
Museum
48
/ PBri-,:j>iN
ROLAND CONRAD
Acrylic on canvas,
PETERSEN,
68
x 68.
of a
Sigmund Martin Heller Traveling Fellowship, 1950; research grants from the University of California, 1959, 1960,
Los Angeles.
(1961, 19631
I
and a John Simon Guggenheim Memorial Foundation Fellowship, 1963. Mr. Petersen has
1965, 1967, 1968-69;
my
The setting
is
for these
often a
deep
landscape which
I
typical of
Washington State
Washington State
in
am
interested in capturing
have endless
The
surrealistic
mood
Davis, California.
intriguing to me.
space, there
is
On
That
Art
Museum,
California,
was particularly interested in the presence of death as it seemed to reach through space. The idea of depicting emptiness and sadness instead of joy and fulfillment (which one often associates with a picnic scene) was my
primary purpose."
University,
Inc.,
New
in
1926.
He received an
A.B.
degree
in
1966, 1969;
E. B.
degree in 1950 from the University of California, Berkeley. He studied at The Hans Hofmann School of Fine Arts, Provincetown, Massachusetts, summers, 1950, 1951; Stanley William Hayter's Atelier 17, Paris, 1950, 1963; Son Francisco Art Institute, 1951, 1952; and at the California College of Arts and Crafts, Oakland, summer, 1954. He was the recipient
Ohio University, Athens, 1968; M. H. de Young Memorial Museum, San Francisco, 1968; Western Association of Art Museums, Seattle, 1968-69.
California, 1966;
in
numerous group
& Exposition Art Show, Sacramento, 1960, 1963; Sacramento City College, California, I960; California Palace of the Legion of Honor, Son Francisco, 1960, 1961, 1962, 1967; San Francisco Art Association, 1960, 1963, 1965; San
Fair
Museum, Champaign, 1961, 1963; Poindexter Gallery, New York, 1961; Jack London Square, Oakland, California, 1961; Oakland Art Museum, California, 1961, 1968; The Pasadena Art Museum, California, 1961; Son Francisco Art Institute, 1961, 1962, 1965; Davis Community Center of Art, California, 1962; The Denver Art Museum, 1962; Golden Gate Galleries, San Francisco, 1962; Santa Barbara Museum of Art, California, 1962; Osborne Gallery,
Francisco
of Art, 1960, 1961; Krannert Art
Museum
University of Illinois,
Inc.,
New
Museum
of Art, Indianapolis,
New
Chicogo, 1965;
New
Academy
Crocker Art
Association,
Arts,
is
in
many
private
and public
Ohio
University, Athens;
Wesleyon
Community
Art,
New
York;
Oakland
Art
Museum, Oakland
Public Library,
California; Philodelphio
Museum
Redding, California; The Virginia Museum of Fine Arts, Richmond; E. B. Crocker Art Gallery, Sacramento, California;
The Fine Arts Gallery of San Diego; California Palace of the Legion of Honor, M. H. de Young Memorial Museum, San
Francisco;
Washington, D.C.
cl''-
fABERT
49
JACQUES FABERT,
canvas, 53 x 36.
Acrylic
on
New
York.
leaves,
yearly change,
its
shadows as well as its substance, its accidents of shape and position, the far-off thoughts that it brings back to a wandering attention all these things are equal."
in Paris, France, in 1925. He Academic des Beaux-Arts de I'lnstitut de He received a Huntington Hertford Fellowship
Arts
and
Oakland, and
lives in
Son Francisco,
California.
special
New
San Francisco, 1963; Kaufman Vendome Gallery, Gump's Gallery, San Francisco, 1964. Mr. Fabert's work has been included in group exhibitions
of Honor,
Pittsburgh, 1964;
ot
at
by The American Federation of Arts, New York, 1967-68; The Arleigh Gallery, California Palace of the Legion of
Honor, San Francisco, 1967; National Collection of Fine Arts,
New
York, 1968;
New
York State
work
is
in
Iowa
City;
Museum
Museum,
Fund
Art,
of Arts
and Sciences,
Pittsfreld,
Washington,
American
Jr.
50
BECHTLE
ROBERT BECHTLE, '60 T-Bird, 1968. Oil on canvas, 72 X 96. Lee Nordness Galleries, New York. (1967)
Robert Bechtle was born in Son Francisco, California, 1932. He studied at the California College of Arts and Crafts, Oakland, where he received his B.A.A. degree,
in
1954, and M.F.A. degree, 1958; and at the University of He has lectured at the
University of California, Berkeley, 1965-66; and he has taught at the California College of Arts and Crafts,
lives in Berkeley,
special
Francisco Museum of Art, 1959, 1964; Lawrence Drake Gallery, Carmel, California, 1960; Barrios Art Gallery, Sacramento, California, 1960; University of California,
B.
California, 1966.
His work has been included in group exhibitions at the Oakland Art Museum, California, 1953, 1954, 1957, 1958, 1959, 1960, 1961, 1966-68; Richmond Art Center, California,
1953, 1954, 1957, 1958, 1959, 1960, 1961; Son Francisco Museum of Art, 1953, 1954, 1957, 1958, 1959, 1960, 1961;
California State Fair
8.
Museum
Provincetown Art Festival, Massachusetts, 1958; Society of Washington Printmakers, Smithsonian Institution, Washington, D.C., 1958; Bradley University, Peoria, Illinois, 1959; The
Brooklyn Museum,
New
Palace of the Legion of Honor, San Francisco, 1960, 1961, 1964, 1965; Library of Congress, Washington, D.C., 1960;
for the United States Information
Agency, Washington,
San Francisco Art Institute, 1965, 1966; California State College at Hayward, 1966; University of Arizona, Tucson, 1966; for the Art in the Embassies Program, Deportment of State, Washington, D.C., 1966-68; and at the Krannert Art Museum, University of Illinois, Champaign, 1967.
Mr. Bechtle's work
is in the collections of the Starr King School for the Ministry, Berkeley; Diablo Valley College,
Concord, California; Monte Vista High School, Danville, California; Chase Manhattan Bank, New York; Mills College, Oakland Art Museum, California; Concordia Teachers
College, River Forest,
Illinois;
California Palace of
the Legion of Honor, San Francisco Art Commission, San Francisco; San Jose State College, California; Library
of Congress, United States Information
Agency,
in
many
private collections.
51
UNIVERSITY Of
ILLINOIS LIBRARy
52 /
BACK^TRAND
<K
Painting
Felix
in
-2, 1967.
Acrylic
1934.
He
Oregon
and Museum Art where he received a Certificate of Completion. Mr. Backstrond was awarded a scholarship to the Museum Art School, Portland, Oregon, 1958-61; and a Fulbright Fellowship, 1965-66. He lives in Portland, Oregon.
University of Colorado, Boulder, 1957;
in
group
Image Gallery, Portland Art Museum, and Portland State College, Portland, Oregon, 1962; Salem Art Museum, Oregon, 1963; Ashland Shakespearian Festival, Southern Oregon College, Ashland, Oregon, 1964; Fountain Gallery, Portland, Oregon, 1964.
'M
KNATHS
53
Oil
on canvas, 40
x 50.
New
York.
of
American Art, Youngstown, Ohio, 1965; Aldrich Museum Contemporary Art, Ridgefield, Connecticut, 1966; and
the Albright-Knox Art Gallery, Buffalo, 1968.
His
at
was born in Ecu Claire, Wisconsin, in 1891. He studied at The School of The Art Institute of Chicago and later, in 1961, received on Honorary Doctor of Fine Arts
Karl Knaths
work
is
in
Museum
of
Illinois,
Champaign;
Institute.
The Art
American Art, Andover, Massachusetts; Bennington College, Vermont; and at the Skowhegan School of Painting and Sculpture, Maine. He lives in
of
Des Moines Art Center, Iowa; The Detroit Institute of Arts; Mary Washington College of the University of Virginia,
Institute of
Institute;
Provincetown, Massachusetts.
Mr. Knaths has received
special
Fredericksburg; Wadsworlh Atheneum, Hartford, Connecticut; The John Herron Art Institute, Indianapolis; University of Nebraska, Lincoln; The Currier Gallery of Art, Manchester,
&
New
Museum, 1947;
Jersey, 1965;
New Hampshire; Walker Art Center, Minneapolis; The Brooklyn Museum, Ford Foundation, The Metropolitan
Museum
of Art, The Museum of Modern Art, Sara Roby Foundation, The Rockefeller Institute, Whitney Museum of American Art, New York; The Pennsylvania Academy of the
New
Wisconsin State University, Eau Claire, 1966; Spelman College, Atlanta, 1968; The Provincetown Art Association, Massachusetts, 1968, and elsewhere.
Mr. Knoths' work has been
in
Museum
Museum
many group
of Honor,
exhibitions,
Museum
New
Art,
New
New
School
of
American
1968;
Whitney Museum
Butler Institute of
Woodward Foundation, Washington, D.C.; Norton Gallery and School of Art, West Palm Beach, Florida; Worcester Art Museum, Massachusetts; and in
Collection, The
numerous private
collections.
HIM4..L.
^W'
54
ROr:^R
was born in Philadelphia, Pennsylvania, He studied at the University of California, Berkeley, v/here he received an M.A. degree in 1965. He
1936.
1965-66.
He
and the
Hollis
in
group exhibitions
Musee d'Art Moderne de la Ville de Paris, 1963; Richmond Art Center, California, 1963, 1966; Eric Locke
Museum
of Art,
work
Is
in the collections of
Mr.
George Hacker,
Melbourne, Australia; Mr. Arthur Cantor, Mr. Elliot Kotz, Mr. Lee Nordness, New York; Mr. Jules D. Prown, Orange, Connecticut; Mr. Howard Jacobs, Son Diego; Mr. Blair Fuller,
Dr. Alfred
Hume, Mr.
Maxwell Meyers,
^n^
OKAMURA
55
ARTHUR OKAMURA,
60
X 60.
Bo/inos, 1966.
Oil
on canvas,
Art,
Carnegie
M. Knoedler & Co., Inc., New York; Feingarten Galleries, Los Angeles; The Hansen Gallery, San
Francisco.
is
in
Arthur
1932.
in
The School
The Art
Institute of
Illinois, Champaign; The Art Chicago, Borg-Warner Collection, Container Corporation of Americo, University of Chicago, Chicago;
Museum,
University of
Institute of
Chicago, 1950-54; University of Chicago, 1951, 1953, 1957; and Yale University, New Haven, Connecticut, 1954. Mr.
Steel Service Center Institute, Cleveland; Miles Laboratory, Elkhart, Indiana; Kolomazoo College, Michigan; Illinois
Okamura was
Whitney Museum
California College of
Art
and American Art, New York; Arts and Crofts, Oakland; Phoenix
of
Haven, Connecticut, 1954. He has taught at the Central YMCA College of Chicago, 1956, 1957; Evanston Art Center, Illinois, 1956, 1957; The School of The Art Institute of Chicago, 1957; Academy of Art, San
Yale University,
Francisco, 1957; North Shore Art League, Winnetka, Illinois,
New
Museum; California Palace of the Legion of Honor, San Museum of Art, Son Francisco; Santa Barbara Museum of Art, California; The Corcoran Gallery of Art,
Francisco
C.
Johnson
Smithsonian
Arts,
and
Crafts,
Oakland, 1958,
Washington, D.C.
Summer School
of Painting,
Saugatuck,
He
Mr,
Okamura
has received
special
New
York,
of
and San
Museum
Oakland
Art
Museum,
California,
La Jolla
Dallas, 1962;
University of Utah,
New
York, 1965;
of Art, 1968.
in
group exhibitions
The Art Institute of Chicago, 1951, 1952, 1953, 1954, 1957, 1959; The Downtown Gallery, The Museum of Modern Art,
New
Academy
1961,
1963; Ravinia Festival of Art, Highland Park, Illinois, 1956, 1964; Los Angeles County 1957, 1965; San Francisco
Museum Museum
Center, Berlin
Museum,
American Federation of Arts, New York, 1958, 1959; M. H. de Young Memorial Museum, San Francisco, 1958; Dallas Museum of Fine Arts, 1959; M. Knoedler & Co., Inc.,
New
San Francisco, 1959, 1967; Whitney Museum of American Art, New York, 1960, 1962, 1963, 1964; Time & Life Building, New York, 1961; The Corcoran Gallery of Art, Washington, D.C., 1964; E. B. Crocker Art Gallery,
56
KOZi-i
JOHN KOCH,
35'/8
is
x29y8. Kraushaar
New
York.
John Koch was born in Toledo, Ohio, in 1909. He has studied in New York and Paris. He lives in New York,
Museum
of Fine Arts,
Boston; Buck
Hill
New
New
York.
special exhibitions
Museum and
Museum, Kansas
City, Missouri;
Carriage House, Stony Brook, New York, 1951; The Virginia Museum of Fine Arts, Richmond, 1962; Museum of the City
of
New
of
York; The
of
New
Britain
New
Museum,
Pittsfield,
Museum
American
League
York;
Massachusetts, 1963.
exhibitions at
work has been included in group The Art Institute of Chicago; The Newark Jersey; The Brooklyn Museum, Whitney
Art,
New
Museum
Academy
New
Joslyn Art
of Rochester,
New
New
Arts, Philadelphia;
Institute, Pittsburgh;
Santo Barbara
of Art,
The Museum of Fine Arts, Springfield, Massachusetts; The Toledo Museum of Art; Butler
American
Art,
Youngstown, Ohio.
SCHRAG
^n^
57
KARL SCHRAG, Farm /n fhe Disfonce, 1968. Oil on canvas, 32 x 45. Lent by Dr. Nathaniel S. Ritler, New York. Kroushaar Galleries, New York.
Germany, in 1912. He was graduated from the Humanistisches Gymnasium, Karlsruhe, in 1930. Immediately after he began studying first in Geneva and then Paris at the Ecole Nationale
Karl Schrag
of Modern Art, The New York Public Library, Whitney Museum of American Art, New York; Musee d'Art Moderne de la Ville de Paris, Musee du Petit Palais, Paris;
Museum
was born
in
Karlsruhe,
The Pennsylvania Academy of the Fine Arts, Philadelphia; Museum of Art, Carnegie Institute, Pittsburgh; Golleria
art,
of Congress,
work
is
in
Academie Ranson with Roger Bissiere; and at Academic de la Grande Chaumlere. He also studied at the Art Students League of New York and the Stanley William Hayter's
Atelier 17,
Museum
Museum,
University of Illinois,
New
York.
Institute of
Museum
of Art;
Workshop,
Los Angeles,
and a
New
Hampshire; Wadsworth
Trust
Academy
York,
in
of Arts
and
Letters,
New
William
Company,
Angeles;
He was
the director
and taught
1950.
at the Stanley
New New
Presently he teaches
Germany;
Britain
Los
Art, Los
New
York;
New
lives in
New
York,
York.
New
many awards, and
special
Museum of American Art, Connecticut; Yale University, Hoven, Connecticut; The Brooklyn Museum, The Museum
of Art,
Metropolitan
The
New
der Freunde Junger Kunst, Baden-Baden, Germany; Gollerie Arenberg, Belgium; Staatliche Kunsthoile, Karlsruhe,
Museum
American
Art,
Bradley University,
of Art;
New
Museum
Rhode Island
Museum
of Art;
Syracuse University,
New
New
The Art
Institute of
Museum
of Art,
The
Washington, D.C.
58 / Mc^-.y/
MALCOLM MORLEY,
Acrylic
Christopher Colombo, 1966. on canvas, 45 x 60. Lent by Dr. oncJ Mrs. Leonard Kornbiee, New York. Kornblee Gallery, New York.
Malcolm Morley was born in London, England, in 1931. He attended the Royal College of Art, London, 1954-57. Mr. Morley has lectured at the Royal College of Art, 1956, and taught at Ohio State University, Columbus, 1965, 1966.
He
lives in
at the
Kornblee Gallery,
New
in
New
Museum, Kansas City, Missouri, 1966; The Solomon R. Guggenheim Museum, New York, 1966; Museu de Arte Moderno de Sao Paulo, Brazil, 1967.
Mr. Morley 's work
is
in
University, Columbus;
HARVEY
59
Acrylic on canvas,
ROBERT HARVEY, londy and Esther in Granada, 1968. 60 V2 x 108. Lent by Mr. ancJ Mrs. Harry W. Anderson, Afherton, California. Gump's
(1967)
returning from two years
Museum, Kansas
Museum Museum
"This painting
in
done
just after
which
Spain uses the figures of the Family Album series (on I've been working for the post 4 or 5 years) posed
in
of Art, California, 1962; Museum of New Mexico, Santa Fe, 1962; The Corcoran Gallery of Art, Washington, D.C., 1962; Western Washington State College, Bellingham,
Granada."
In
He studied
Art Institute;
lives in
League of New York; Son Francisco and with Louis Ribak, Taos, New Mexico. He
1963, 1965; Phoenix Art Museum, 1963; M. H. de Young Memorial Museum, San Francisco, 1963; San Francisco Festival of Art, 1963; Jock London Square, Oakland, California, 1964, 1965; San Francisco Art Institute, 1964, 1965, 1966; Laguno Beoch Art Association, California, 1965; M. Knoedler & Co., Inc., New York, 1965; The
Virginia
Art
Museum
Museum, University
is in
Champaign,
1967.
special
New
York, 1954;
Window
Gallery,
Fe,
Mendocino, California,
Terry Dintenfoss,
Inc.,
Sante
New
Mexico, 1962;
New
Brussels; Mr. and Mrs. Stuart Rowe, Davis, California; Mr. James Trittipo, Hollywood, California; Mr. and Mrs. Jeffrey Hoyden, Lytton Savings and Loan Association, Mr. and Mrs. Sanford Simmons, Long Beach, California; Storm King Art Center, Mountoinville, New York; Mrs. Mary Roebling, New
Hirshhorn Foundation,
E.
B.
Crocker Art
Paris; Mr.
New York; M. Marcel Marceau, and Mrs. Charles Campbell, Crown Zellerbach
Kansas, 1965.
in
group exhibitions
1960,
at the
Oakland
Museum,
California.
1961,
1963,
1964;
Prince
and Mrs. Phillip S. Hock, Scottsdole, Arizona; and Princess Doan de Chompassak, Tangier; Mr.
Burr, Universal City, California;
Raymond
D.C.; Mr.
The Corcoran
of Art, 1961,
Art
Museum,
Wichita, Kansas.
60
GRie'.il'f
COLIN GREENLY,
Colin Greenly
K.C., 1967.
361/2 X 85 X 98y4.
was born
London, England,
in 1928.
He
Cambridge, received a B.A. degree from Harvard University, 1948; and he attended Columbia University
Massachusetts,
1951-53. Mr. School of Painting and Sculpture, Nev/ York, Greenly wos the recipient of a grant from the National
D.C., Foundation on the Arts and Humanities, Washington, He lives in Washington, D.C.
1967.
been held at Special exhibitions of Mr. Greenly's work have 1960, 1963, Jefferson Place Gallery, Washington, D.C, 1958,
1968; 1965; Bertha Schaefer Gallery, New York, 1964, 1966, Corcoran Gallery of Art, Washington, D.C, 1968. The
His
in
Museum
of Art,
New Orleans, 1956; The Corcoran Gallery of Art, Washington, D.C, 1956; Albright-Knox Art Gallery, Buffalo,
1964, 1964, 1967; Bertha Schaefer Gallery, New York, Antonio, 1967; Morion Koogler McNay Art Institute, San
D.C, 1964; Institute of Contemporary Arts, Washington, 1965; Addison Gallery of American Art, Andover,
Massachusetts, 1966; DeCordovo and Massachusetts, 1966; Sculptors Guild,
Dana Museum,
Lincoln,
New
Omaha,
1967.
is
in the collections of
The Manufacturers
and Traders
Rockefeller,
Company, Buffalo; Des Moines Art Center, Iowa; The Museum of Modern Art, The Hon. Nelson A.
Trust
New
61
62 /
BAKin
i'j~
'5i
GtORGE BAKER,
and
brass,
Discus B, 1966-67.
Felix
in
32 diameter.
Corsicana, Texas,
1931.
He
1948-50, ond studied at the College of Wooster, Ohio, from Occidental College, Los Angeles, where he received a
B.A.
degree degree in 1958. In I960, he received on M.A. Angeles. from the University of Southern California, Los He lives in Altodeno, California.
held at Special exhibitions of Mr. Baker's work hove been 1964, 1968; the Felix Landau Gallery, Los Angeles, 1960,
Ziegler, Galerie Springer, Berlin, 1964,- Galerie Renee Gallery, New Zurich, Switzerland, 1965; Landau-Alan
York, 1967.
La Jollo Mr. Baker's work is in the collections of the Museum of Art, California; Lytton Savings and Loan Los Angeles; Association, University of Southern California,
The Museum
Art,
of
Modern
Art,
Whitney Museum
of
American
New
York;
Museum
"7^,
BURFORD
63
of
5
on canvas,
York.
New
(19481
Kansas
"For any reasonably intelligent and well read person, it is virtually impossible these days not to be av/are of
what's
'in,'
of British Artists,
London, 1961;
Muncie,
of "what's
If
Indiana, 1961, 1963; Colorado Springs Fine Arts Center, 1962, 1963; Joslyn Art Museum, Omaha, 1962, 1964; University of
talking about.'
to
in
my own work
it's
I
seem
to run
counter
St.
some
am
uninterested
is
in
the unique
regardless of
anyone's 'style,' or what respond to most and developed statement of on individual, his style and technique. The further
I
less
able
am
to
make
in
Orangeburg, 1964, 1966; The Pennsylvania Academy of the Fine Arts, Philadelphia, 1965, 1966; American Academy of Arts and Letters, New York, 1966; Notionol institute of Arts and Letters, New York, 1967; Venice Biennole
d'orte, 1968.
in
Jackson, Mississippi,
is
in
He studied
at
Wood, Emil Ganso, Philip Guston and He was the recipient of graduate fellowships, 1946-48, and a reseorch fellowship, 1963, from The University of Iowa, Iowa City; a John Simon Guggenheim Memorial Foundation Fellowship, 1960-61; a
1938-42, with Grant
Fletcher Martin.
Moines Art Center; University of Minnesota, Duluth; University of Hartford, Connecticut; The University of lowo, lowo City; Nelson Gallery-Atkins Museum, Kansas City,
Missouri;
St.
Louis, 1966;
Queens
Institute of Arts
and
Letters,
New
York, 1967.
Nebrosko, Lincoln; Kansas Stole University of Agriculture and Applied Science, Manhattan; Brooks Memorial Art
Gallery, Memphis;
First
He
Professor at the University of Minnesota, Duluth, 1959; California College of Arts and Crafts, Oakland, 1962;
Minneapolis;
Association,
New
and Joslyn
Art
Museum, Omaha,
1963.
He
lives in
exhibitions of his
of Iowa,
numerous awards, and special work have been held at the State College
1941; The University of Iowa, Iowa
Topeko, Kansas.
Cedar
Falls,
Art Center, Minneapolis, 1958; Beloit College, Wisconsin, 1959; Fairweother Hardin Gallery,
Walker
Chicago, 1959; Carleton College, Northfield, Minnesota, 1959, 1964; Des Moines Art Center, Iowa, 1961; California College
of Arts
and
Crafts,
Oaklond, 1962; Richmond Art Center, Hansen Gallery, San Francisco, 1962,
Illinois
Museum,
Muncie,
New
Wesleyan
University,
Bloomington, 1967; Cherokee Art Center, Cherokee, Iowa, 1967; Northwest Missouri State College, Maryville, 1967;
Portland Stole College, Oregon, 1967;
University, University,
George Washington
Illinois
Washington,
D.C., 1967;
Western
Macomb,
1968;
Moorehead
State College,
Omaha, 1968;
in
group
of Art,
Museum
New
York, 1942; The Art Institute of Chicago, 1943, 1959; University of Illinois, Urbono-Champoign, 1948; Dayton Art
Institute,
New
Kansas City Art Institute and School of Design, Missouri, 1955, 1956; Walker Art Center, Minneapolis,
Museum
of Art, 1959;
64
TA:
Whitney Museum
of
American
New
New
Washington,
and
Letters,
at
New
1963;
York, 1962;
St.
New
New
York,
He has studied
Hawaii,
Poul Gallery
and School
of Art, 1963;
The
Honolulu, where he received a B.A. degree in 1937; at Columbia University, New School for Social Research, New York; and at the California School of Fine Arts, San Francisco. Mr. Tam was a recipient of a John Simon Guggenheim Memorial Foundation Fellowship in 1948. He was a guest professor at Oregon State University, Corvollis, 1966. Since 1947, he has been teaching at The Brooklyn Museum Art School, New York, and lives in New York,
Pennsylvania
Academy
Museum
His
of Art,
Carnegie
work
Is in
many
New
Mr.
York.
special
Museum, University of Illinois, Champaign; Encyclopaedia Britannica, Inc., Chicago; Dallas Museum of Fine Arts; Des Moines Art Center, lowo; Fort Worth Art Center; Honolulu Academy of Arts; University of
Buffalo; Krannert Art
Oregon
State
Academy
Museum, Ohio; The Newark Museum, New Jersey; American Academy of Arts and Letters, The Brooklyn Museum, IBM
Galleries, The Metropolitan
of Arts;
The Alan
Gallery, The
Downtown
New
Museum
of Art, The
Modern
of
Art,
The
Art,
Museum,
American
New New
Museum of Museum
Oregon;
E.
B.
New
of
Museum, Kansas;
Butler Institute
American
Art,
Youngstown, Ohio.
"^5173
1-
SOYFR
65
r
MOSES SOYER,
on canvas, 30
?qtUq\\ of Marvin Cherney, 1966.
x 25.
Oil
ACA
Galleries,
New
York.
(1948)
at
Russia, in 1899.
of Art
in group exhibitions The Art Institute of Chicago; The Metropolitan Museum of Art, Whitney Museum of American Art, New York; The
Pennsylvania
Academy
Academy
France.
Museum
of
New
in Paris,
He
American
His
Art,
is in
Youngstown, Ohio.
New
York.
work
many
private
and public
collections
Contemporary
York,
Art,
New
York.
in
New
Museum
of Art,
New
special
ACA
Galleries,
Wadsworth Atheneum, Hartford, Connecticut; The Newark Museum; The Brooklyn Museum, The Metropolitan Museum of Art, The Museum of Modern Art, Whitney Museum of American Art, New York; Syracuse University, New York; and Colby College,
Detroit Institute of Arts;
Alabama; The
Neumann
Gallery,
New
York.
Woterville, Maine.
66
SN-CiVDEN
c75H,73
567^r
MAi^V SNOWDEN, Red
77.
Pipes, 1967.
Plexiglas,
X 32.
Quay
in Johnstown, Pennsylvania, in She has studied at Brown University, Providence, Rhode Island, where she received a B.A. degree in 1962; and at the University of California, Berkeley, where she received an M.A. degree in 1964. Miss Snowden has taught at the University of California, Berkeley, 1964-67; and
and
Crafts,
at the California
lives in Berkeley,
College
California.
Her work has group exhibitions at (he University of California, Berkeley, 1964, 1966; Richmond Art Center, California, 1965, 1966; San Francisco Art Institute, and San
Quay
been included
Francisco
Museum
and
Crafts,
Danville,
Honor, San Francisco, 1967; in Tokyo, 1967; at the Lytton Savings and Loan Association, Los Angeles, Oakland, and Palo Alto, California, 1968; Quay Gallery, San Francisco,
1968;
Tampa
in
San Francisco, Mr. Daniel Wienberg, Son Francisco; Mr. John Baker, York, Pennsylvania; Dr. Eugene Gior; and Mr. William Spence.
STROBBL
67
TOM
60
X 80.
5TROBEL, Spocescope, 1968. Oil on canvas, Joseph Faulkner-Main Street Galleries, Chicago.
series of Illinois landscapes
He
lives in
Borrington
"The current
and spacescopes
won
several awards,
ot
ond
special exhibitions
or mediascapes expresses
my
intention to opply
new
and
Feingarlen Golleries,
psychology
to the traditional
Germany,
in pursuit of
a solution,
am
the
new
art-
The representationol
is
Fairweather Hardin Gallery, Chicago, 1963; Goleria del Arte Moderno, Madrid, 1963; University Club of Chicogo, 1964; Goleria Biosca, Madrid, 1964; Golerie
Cordier, Paris, 1964.
Mr. Strobel's work has been included in group exhibitions
image
is
important to
generate a symbolic
Tom
1931.
Bellomeade, Tennessee,
in
He studied
at the University of
Maryland, College
The Art Institute of Chicogo, 1959, 1960, 1963, 1965; Main Street Galleries, Chicago, 1959; Feingarten Galleries, New
ot
Ameriko-Hous,
Berlin,
1961;
Mr. Strobel
was the
recipient of
The Normal,
Oxbow Summer
School,
lo
Cleveland
1965.
Museum
of Art, 1965;
Germany,
Phi Delta
Institute of
1960-61.
In
was elected
to
Delta
His
work
is
in
honorary
art society at
University of Illinois,
of Art; Staolliche
Chicago.
He has taught
Institute of
Chicago, 1963-64;
Illinois Institute of
is
Germany;
New
York; International
Illinois.
68 I VfMDS
CLYDE LYNDS, love Machine, #2, 1968. Plexiglas and painted construction, 19 ^^ x15V2 x4V4- Babcock
Galleries,
New
York.
"My
man and
his
environment.
To do
this
find
it
public
make
materials.
available to the
the best
today, paint
is
no longer necessarily
means
of expression.
electricity
and anything
range for
endeavors."
in
Jersey City,
New
Jersey, in 1936.
He studied
1960-66.
league of
New
York,
New
York,
He
lives in
Wood-Ridge,
New
Jersey.
and his work has Wokeling Gallery, Wood-Ridge, New Jersey, 1966; Jersey City Museum, New Jersey, 1967, 1968; New Jersey State Museum, Trenton, 1967; Union
been exhibifed
at the
New
Jersey, 1968;
Monmouth
College,
Jersey, 1968.
-7<rij
'^
HOLBROOK
69
76
x 68.
Evcnslon,
"I
Illinois.
have been working from photographs for about five years, and have been doing my own photography for about three and one-half years. The creative process for me is not one of fabrication, but rather one of the reproduction
The Brooklyn Museum Art School, New York, 1962-63. Mr. Holbrook was the recipient of the James B. Reynolds Foreign Study l=ellowship to Paris, 1961-62; and a fellowship from The Brooklyn Museum Art School, 1962-63. He lives in
Chicago,
Illinois.
and editing
of the real world. The work is painterly and often quite loose, but should always refer to its source
Mr. Holbrook has received severol awards, and special exhibitions of his work hove been held at Dartmouth College, Hanover, New Hompshire, 1960; and at the
a photograph.
with anything
I
ability to dispense
Richard Gray Gallery, Chicogo, 1964, 1966, 1967. His work has been included in group exhibitions ot The Art Institute
of Chicago, 1965, 1967;
my
imagination), because he knows that the material represents a visual fact the camera doesn't lie. As I've gotten
De Paul LIniversity, Chicago, 1965; Notional Institute of Design of Illinois Institute of Technology, Chicago, 1965, 1966; Kendall College,
Evanslon,
Illinois,
deeper into the processes of photography, my pointings hove reflected that technology. bring to painting images
I
1965;
that ore
germane
to
(I
photography
proof
sheets,
blow ups,
sequential images
am accused
of being a frustrated
Illinois Wesleyon University, Bloomington, 1966; Richard Gray Gallery, Chicogo, 1966, 1967; Hyde Park Art Center,
movie maker), time exposures, increased contrast, lens The creative process, then, extends not only to painting images, but to taking pictures
distortion, stop action, etc.
Chicago, 1966; Northern Illinois University, DeKolb, 1966; Adele Rosenberg Gallery, Chicogo, 1966; Des Moines Art Center, Iowa, 1967; Martha Jackson Gallery,
If
this
New
His
York, 1967;
in
the paintings
it
is
because
1968; The
Museum of Contemporary Art, Chicago, American Federotion of Arts, New York, 1968-69.
in
work
is
and Mrs.
Irving
Formon,
as such."
Illinois Bell
was born In New York, New York, in 1940. He has studied at Dartmouth College, Hanover, New Hampshire, where he received a B.A. degree in 1961; and at
Electric Company, Chicago; Northern DeKolb; Mr. Howard Marks, Minneapolis; Cornell College, Mt. Vernon, Iowa; and The American
Illinois University,
Rosenberg, Western
Federotion of Arts,
New
York.
70
BALSLBY
I 7?
JOHN
G. BAL5LEY, Amer/con Sunday Summer tandscope, 1967-68. Welded metal, wood, epoxy, polyester, naugahyde and polymer acrylic, 46 y4 x 57 x 45. Fairweather Hardin Gallery, Chicago.
"I
am
phenomena
where he received a D.F.A. degree; and Northern DeKalb. He lives in DeKalb, Illinois.
The Canton Art Institute, Ohio, 1967; College of Wooster, Ohio, 1967; and The Toledo Museum of Art, 1968.
in group exhibitions The Toledo Museum of Art, 1965, 1966, 1967, 1968; Butler Institute of American Art, Youngstown, Ohio, 1965, 1966,
Museum
1968;
Museum
is
of
Contemporary
Art,
work
in
Institute of
American
Art,
Youngstown,
72
WINSS
Inc.,
New
"I
York.
am
of
environment
New
in
Chicago,
Illinois, in 1932.
He
New
He was the
Guggenheim
New
New
New
York, 1963-67.
He
lives
New
York,
New
York.
Museum
of Art, Syracuse,
New
York, 1954,
1962-63;
Simone Gallery, Gerson Gallery, New York, 1960, 1962; Gallerio Trostevere, Rome, 1960, 1961; Galerie Alphonse Chave, Vence, France, 1960; Syracuse
Art, 1958; Silvan
University,
New
Walker
Art Center,
New
His
York, 1966.
in
group exhibitions
at the Everson
Museum
of Art, Syracuse,
New
York, 1951,
of Art, 1952,
Museum
Art, Los Angeles, 1958; The American Federation of Arts, New York, 1958, 1960-61; Whitney Museum of American Art, New York, 1958, 1960, 1962, 1964, 1966; American Academy in Rome, 1958; in Sacramento, California, 1958; at The Art Institute of Chicago, 1959, 1963; The Museum of Modern Art, New York, 1959, 1961-62; University of Illinois, Urbona-Chompaign, 1959, 1963, 1965; Otto Gerson Gallery, New York, 1960, 1961; in Boston, 1961; ot the Dayton Art Institute, 1961; New School
New
Museum
Museum
of
Carnegie
Museu de
Arte
Moderna de Sao Paulo, Brazil, 1963; Dallas Museum of Walker Art Center, Minneapolis, 1964; Flint Institute of Arts, Michigan, 1966; Stedelijk Museum, Amsterdam; Riverside Museum, New York; and Museum
Fine Arts, 1964;
in
Museum,
The Art
Buffalo;
University, Hamilton,
New
York;
Museum
New
Inc.,
The Currier Gallery of Art, Manchester, Hampshire; University of Wisconsin, Milwaukee; Walker
New York University, Whitney Museum of American Art, New York; Hoffmon-LaRoche Research Laboratory, Nutley, New Jersey; Everson Museum of Art, Syracuse University, New York; Munson-Willioms-Proctor Institute, Utica, New York; Museum des 20. Johrhunderts, Vienna;
and
In
many
private collections.
BEAL
73
Nx)6e. 1967.
Oil
on canvas,
Allan Frumkin
J. B.
Louisville, 1965;
Federation of Arts,
New
York, 1965;
Gallery, Inc.,
New
York.
in
American
in 1931.
Art,
New
Richmond, Virginia,
He studied
at
Boulder, 1966, 1967; University of Kentucky, Lexington, 1966; Norfolk Museum of Arts and Sciences, Virginia, 1966; Galerie
Institute of
Claude Bernard,
Paris, 1966; Rhode Island School of Design, Providence, 1966; Bennington College, Vermont, 1967; Terry Dinlenfoss, Inc., Allan Frumkin Gallery, Inc., New York, 1967;
New
he was visiting
critic at
Museum
is
of Art, 1968.
He
lives in
New
York,
New
work
in
York.
Carolina, Chapel
The Art
Institute of
Chicago; Mr.
New
Frumkin Gallery,
Inc.,
Inc.,
New
at
Chicago, 1966.
work has
been included
in
group exhibitions
The Art
Institute of
Brown Baker, Mr. Roy R. Neuberger, Sara Roby Foundation, Whitney Museum of American Art, New York; Alexis Irenee du Pont, Wilmington,
Delaware; Mr. Robert Mayer, Wlnnetko,
Illinois.
74
PAsK
r4AM JUNE PAIK, Some Say The Condifion of Success is 'Only 20% New." Sorry, My Thing h "95% New.", 1964. Electronic television and magnet, 18 x 18. Galeria
Bonino,
Ltcl.,
Ltd.,
New
Cinematheque,
New
New
New
York, 1965;
New
York.
in
Nam
Paik has
done
1956 he
graduated with a maior in aesthetics from the University and from 1956-58 he studied music, art history and philosophy at the Universitat Zu Koln, Cologne, Germany; Staatliche Hochschule fur Musik Freiburg im Breisgau, Freiburg, Germany; and the Ludwig-MaxrmilionsUniversitat Munchen, Munich, Germany. He lives in New
of Tokyo;
1966-68; Staatliche Kunstakademie Dusseldorf, Dusseldorf, Germany, 1966-68; Eastern United States Physicist Congress, Providence, Rhode Island, 1966; Tekniska Museet, Stockholm, Sweden, 1966; The Jewish Museum, New York, 1967; John Brockmon Associates, New York, 1968; New York State
University at Stony Brook, 1968.
His
in
York,
New
York.
Many
work have been held, including those at the Golerie 22, Dusseldorf, Germany, 1959; Atelier Mary Bauermeister, Cologne, Germany, I960; Louisiana Kunstmuseum, Humblebaek, Denmark, 1961; Ny Musikk, Oslo, Norway, 1961; Liljevalchs Konsthall, Stockholm, Sweden, 1961; Kammerspiele, Dusseldorf, Germany, 1962; Amstel 47, Amsterdam, 1963; Galerie Pornass, Wuppertal, Germany, 1963; Sogetzu Art Center,
special exhibitions of Mr. Poik's
New
York, 1964;
Ann Arbor,
1965; Philharmonic
Inc.,
New
Contemporary
Tokyo, 1964;
Institut fur
Howard Wise
New
Zwirner Gallery, Cologne, Germany, 1965, 1966-68; Johanne Wolfgang Goethe-Universitat, Frankfurt, Germany,
New
York, 1968.
TOVISH
I 75
HAROLD TOVISH,
Lent by Dr.
Vorfex, 1966.
Bronze, 18 x 18.
Terry
Dintenfass,
New
York.
recent
I
have wanted my v/ork to build up until felt it was ready to be widely seen. One of the things about me that annoys many people is that destroy about 50 per cent of my work. If an idea doesn't come off, destroy the
I 1
piece, so
it
often looks as
if
don't produce
very much."
in
New
York,
New
York,
1921.
He studied
in
Works
New
Grande Choumiere,
Poris, 1950-51.
la
at the
New
The School
Museum
and
in
Mr. Tovish
was the
of Arts
New
York, 1960.
In
Sculptor
Academy
in
Rome
and
in
Cambridge. He now
Massachusetts.
lives in Brookline,
Walker
New
in
Solomon
R.
group exhibitions
The
Metropolitan
Center,
Museum
of Art,
New
New
Museum
of Art, 1947;
8, Paris,
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 Museum of Art, 1952; The Denver Art Museum, 1955; Boston
Arts Festivol, 1957, 1958, J959, 1963, 1964; Portland Art
Museum, Oregon, 1957; The Solomon R. Guggenheim Museum, New York, 1958, I960; Museum of Art, Carnegie
Institute, Pittsburgh, 1958;
The Art
institute of
Chicago, 1959,
Modern Art, New York, 1959; University of Illinois, Urbono-Champoign, 1959, 1961, 1967; DeCordova and Dona Museum, Lincoln, Massachusetts, 1964; The
I960; The
of
Museum
American Federation of
Mr. Tovish's work
Arts,
New
and public Addison Gallery of American Art, Andover, Massachusetts; Mr. and Mrs. Lester Dona, Museum of Fine Arts, Boston; The Art Institute of Chicago; Mr. and Mrs. John Cowles, The MInneopolIs Institute of Arts, Walker Art Center, Minneapolis; Mr. and Mrs. Robert Gardner, The Solomon R. Guggenheim Museum, Dr. and Mrs. Harold Loufman, Mr. and Mrs. Edwin Stone, Whitney Museum of American Art, New York; Joseph H. Hirshhorn Collection, Washington, D.C.; Worcester
is
in
many
private
Art
Museum, Massachusetts.
-^
76 / SYAl^ACK
EDWARD STASACK,
Uquitex and
Gallery,
oil
New
Red Window landscape, 1967. on canvas, 40 x 52. The Downtown York. (1961, 1963, 1965)
of Albany,
New
Center, Clinton,
of Artists,
New
New Canaan,
Edward Stasack was born in Chicago, Illinois, in 1929. He studied at the University of Illinois, Urbana-Champaign, where he received a B.F.A. degree in 1955, and an M.F.A. degree in 1956. He was the recipient of a graduate
fellowship from the University of
Illinois,
Watercolor Club,
Gallery,
District of
New
of Illinois,
Champaign,
1955-56; Louis
in
American Color
Art,
printmaking,
and
in
painting, 1962-63;
Carnegie
of Arts
grant, 1958-59.
New
D.C., 1965;
and
at
New
York.
1954;
Telephone, Chicago; Cincinnati Art Museum; Hunterdon County Art Center, Clinton, New Jersey; Honolulu Academy
of Arts; The Brick Store
Hawaii, 1957;
Otis
The Gallery, Honolulu, 1957-59; Scoville Gallery, Honolulu, 1958, 1959; Honolulu Academy of Arts, 1962; The
Downtown
His
Gallery,
New
American Graphic
Artists, Inc.,
New
York, 1965.
in
group exhibitions
Museum
of Art;
Achenbach Foundation
of the Legion of
The Brick Store Museum, Kennebunk, Maine, 1956, 1957, 1958, I960; Society of American Graphic Artists, Inc., New
York, 1956, 1957, I960; The Print Club, Philadelphia, 1956;
Museum
Museum;
Art,
of Art;
San Francisco Museum of Art, 1956, 1960, 1961; Library of Congress, Washington, D.C., 1956, 1957, I960; Print Club
of Congress,
GOODMAN
J77
SIDNEY
Oil
GOODMAN,
Goodman was
He studied
Se/f-Porfra/f
f/ie
Sfud/o, 1967.
Inc.,
New
York.
Sidney
in
Philadelphia, Pennsylvania,
1936.
at the Philadelphia
College of Art,
Goodman presently is teaching at the Philadelphia Museum School of Art. He lives in Elkins
1958.
Mr.
Park, Pennsylvania.
Mr.
Goodman
New
Pennsylvania
1968.
Academy
University,
Washington,
D.C.,
Goodman's work has been included In group exhibitions Museum, Omaha, 1966; Whitney Museum
Art,
American
New
The Brooklyn
of Art;
of
Modern
Art,
New
and
Philadelphia
Museum
Art,
Washington, D.C.
His
work
is
in
Chicago; The
of
Museum
Art,
of
Modern
Art,
Whitney Museum
American
New
York; Philadelphia
Museum
of Art;
78 I COi
MAX
Max
COLE, Nensa, 1968. Oil and resins on masonite, 72 X 48. Comara Gallery, Los Angeles.
Cole was born
in
Hodgeman County,
Kansas,
She studied at Kansas State University, Manhattan; Fort Hays Kansas State College, Hays, where she received a B.A. degree, 1961; and at the University of Arizona, Tucson, where she received on M.F.A. degree, 1964. She was the recipient of a graduate fellowship from Fort Hays Kansas State College, Hays, 1961; and graduate teaching
in 1937.
1962-64.
lives in
Altadena, California.
Miss Cole has received several awards, and special
exhibitions of her work have been held at the Visual Arts
Gallery, Wichita, Kansas, 1961; 261 Gallery, University
Los Angeles,
1966, 1968.
in
group exhibitions
Temple Israel, St. Louis, 1963; New Mexico Art League, Albuquerque, 1964; in Chico, California, 1964; at Purdue University, Lafayette, Indiana, 1964, 1966; The Society of
the Four Arts, Palm Beach, Florida, 1964; in Los Vegas, 1965; lodi, California, 1965; Los Angeles, 1965, 1968; at the
St.
Downey Museum
of Art, California,
Tennessee, 1966;
in
at California State
Angeles County Museum of Art, Los Angeles, 1966; Cerritos College, Norwolk, California, 1966; San Diego Jewish
Community Center, 1966, 1967; Son Francisco Museum of Art, 1966; Charles and Emma Frye Art Museum, Seattle,
1966; Western Association of Art
Butler Institute of
American
Art,
Museum
of Art,
Angeles and Oakland, 1968; Occidental College, Los Angeles, 1968; The Pasadena Art Museum, California, 1968;
E. B.
Fine Arts Gallery of San Diego, 1968; The John and Ringling
Moble
Museum
KLAVEN
79
MARVIN KLAVEN,
canvas, 72 x 48.
Arh'st:
Bornef, 1968.
Acrylic on
Gilman
is like
Galleries, Chicago.
human
being.
It
reveals the
human
character.
my
lie
this character,
it
then becomes a
in
Decatur,
Illinois, in 1931.
He
in J957,
He was
Foundation Grant
1964.
and
is
He
and at the and Sciences, Peoria, Illinois, 1967. Mr. Klaven's work has been included in group exhibitions at
the Decatur Art Center, Illinois, 1963, 1967;
Lakeview Center
for Arts
and Sciences, Peoria, Illinois, 1965-66; Illinois and Illinois Bell Telephone, Chicago, 1968.
His
work
is
represented
in
Arts Council,
and
III,
Illinois Bell
John Warner
Illinois;
80
zmsiiR
fiber,
60
Claire Zeisler
She
New
Alexander Archipenko
Institute of
at the Institute of
Design of
Illinois
Technology, Chicago.
The Art
Institute of
1961;
1962;
Crafts of the
New
York.
Mrs. Zeisler's
work
is
in
The
First
Illinois.
81
82 I PAFuQH
TOM
"My
I
canvas, 46 x 77.
paintings to
I
Oilman
Galleries, Chicago.
me
something that
happen memories
to see
find
it
or them.
objects.
Drawings,
open
at a point of finding.
keep trying
Tom
Parish
was born
in
Nibbing, Minnesota,
1933.
He
Academy
Philadelphia, where he received a B.F.A, degree in 1957; and at the University of North Dakota, Grand Forks, where he received an M.A. degree in 1960. Mr. Parish was
the recipient of a Cresson Traveling Scholarship to Europe
in
He has taught
is
Illinois,
St.
Louis, 1966-67;
and he presently
Detroit.
teaching at
Wayne
State University,
in Detroit,
Michigan.
His
Fine
Grand
Red
Illinois,
1963; Butler
American
Art,
Is in
and
Butler Institute of
American
Art,
Youngstown, Ohio.
7-
BROWN
83
Four Nodes on River Bank, 1968. Acrylic on canvas, 48 x 72. Felix Landau Gallery,
Art
Museum,
Museum
of
Santa Barbara
Museum
of Art, California,
1957, 1959; M. H. de
in
Moline,
Illinois, in 1919.
He
New
in
New
York, I960;
He
lives in
Malibu, California.
Newport Beach, California, 1962; University of New Mexico, Albuquerque, 1964-67; University of Colorado Museum, Boulder, 1965; Waddington Galleries, London, 1965; The J. B. Speed Art Museum, Louisville, 1965; Palm Springs Desert Museum, Inc., California, 1966; The
Virginia
Landau
York, 1962;
Museum
Gallery, Los Angeles, 1958, 1960, 1963, 1965, 1967; Barone Gallery,
E. B.
New
New
Davenport
Hollis Gallery,
Kansas
Kansas, Lawrence;
New
York, 1968.
in
group exhibitions
Angeles,
Museum
Art, Los
84 I FSRUXfil
VIRtiNiO FERRARI, Amore Ferlile, 1968. Plexiglas and brushed aluminum with liquid in suspension, 96 X 96 X 15. Golleria Roma, Chicago.
"What
"It
have
tried lo coil to
life.
natural Oct of
is
in this sculpture is
is
the
title.
himself.
circle.
is
cut leaving a
grand
Museum
of Art, California,
of love.
it
is
intrinsic to
1968.
the nolure of
man and
by
its
relevance to his
I
own
life
and
to his primordial
beginnings.
distill
phenomenon
am
trying to
it
in
group exhibitions
Italy,
to
make
more
1958;
want to open the eyes of every visible, to exalt it. individual ond moke him feel and see the transparency of
light
Mostra Nozionole d'Arte Giovanile, Rome, 1958; Biennole Nozionole, Milan, 1959, 1961, 1965; Ouadriennole, Rome,
1959; in Munich,
and
color in the
is
movement
of the forms.
Germany, 1962;
"This sculpture
life's
message
like to give,
my
expression."
Highland Pork,
Illinois,
Virginio Ferrari
was born
in
Verona,
Italy, in 1937.
at studied at the N. Noni School of Art, Verono, 1956; the Accademio Cignoroli di Pitturo e Scultura, Affresco e
He and
in
Lubjona,
Accademio Cignoroli di Pitturo e Scultura, Affresco e Incisione, Liceo Artistico, Verono; and he has been teaching
at the University of
in
lives
Museum
of
Contemporary
Art,
Chicogo,
Illinois.
lld2H - Aiuv^
a.ocM4^.
BAUERMEISTER
85
MARY BAUERMEISTER,
Each Other, 1966.
This
Contemporary
Construction:
wooden
in
New
York.
in
Frankfort,
Germany,
As an artist she is self-taught. From 1961-63 she studied and presented exhibitions with the German composer Wilhelm Stockhausen. Miss Bauermeister lives
in
Slaempfli Gallery,
New
York,
New
York.
York, 1966;
Museum, Amsterdam,
1962; Groninger
Museum voor
Stedelijk von
New
1962; Stedelijk
1963;
Museum, Schiedam, The Netherlands, 1962; Abbemuseum, Eindhoven, The Netherlands, Haags Gemeentemuseum, The Hague, 1963; Galeria
Ltd.,
Virginia, 1966;
R. Guggenheim Museum, Museum of Arts and Sciences, The Virginia Museum of Fine Arts, Richmond,
Bonino,
New
group exhibitions
at the
Washington, D.C., 1966; The Akron Art Ohio, 1967; Ohio State University, Columbus, 1967; Kent State University, Ohio, 1967.
Institution,
Institute,
Germany,
1961; Stedelijk
Staatliche Kunsthoile,
New
Jersey, 1963;
Galeria Bonino,
Ltd.,
New
Mary Bouermeister's work is in the collections of the Stedelijk Museum, Amsterdam; Flint Institute of Arts, Michigan; The Solomon R. Guggenheim Museum, Mr. and Mrs. Albert A. List, Mr. Thomas Messer, The Museum of Modern Art, Whitney Museum of American Art, New York; Aldrich Museum of Contemporary Art, Ridgefield,
Connecticut; Joseph H. Hirshhorn Collection, Washington,
D.C.; Dr.
of
New
Museum
of
Willem Sandberg.
86 /OLIVsIRA
K'ATKAN OLIVEIRA, Sfoge ^2 with Bed, 1967. Oil on canvas, 66 x 66. Lent by Mr. and Mrs. Horry W.
Anderson, Atherfon, California. Felix Landau Gallery, Los
Angeles; Gump's Gallery, San Francisco.
1963, 1967)
(1957, 1961,
Stockholm, 1968.
in
Oakland, California,
Oakland, California, and at the California College of Arts and Crafts, Oakland, where he received an M.F.A. degree in 1952. In 1956, he was the recipient of a Louis Comfort Tiffany Foundation Scholarship; in 1958, a John Simon Guggenheim Memorial
1928.
He studied
at Mills College,
work has been included in group exhibitions at the Urbana-Champaign, 1957, 1961, 1963, 1967; Bienal Interamerlcana, Mexico City, 1958; Whitney Museum of American Art, New York, 1958, 1959, 1960, 1961, 1967, 1968; International Exhibition, Tokyo, 1958; The Art Institute of Chicago, 1959; The Museum of Modern Art, New York, 1959; The Solomon R. Guggenheim Museum, New York, 1961; Museum of Art, Carnegie Institute, Pittsburgh, 1961, 1964; World's Fair, Seattle, 1962; and at other institutions.
His
University of Illinois,
is in
Foundation Fellowship;
in
many
collections including
and a Tamarind Fellowship. Mr. OMveira has taught at the California School of Fine Arts, San Francisco; California College of Arts and Crofts, Oakland; and the University of Illinois, Urbana-Chompaign. He presently is teaching at Stanford University and living in Polo Alto, California.
Mr. Oliveira has received several awards, and special exhibitions of his work have been held at The Alan Gallery,
Institute of
New
Beverly
Illinois,
Urbana-
and Loan Association, University of California, Los Angeles; Walker Art Center, Minneapolis; Mr. Richard Brown Baker, The Brooklyn Museum, The Solomon R. Guggenheim Museum, The Museum of Modern Art, Mr. Roy R. Neuberger, Whitney Museum of American Art, New York; Oakland Art Museum, California; Aldrich Museum of Contemporary Art, Ridgefield, Connecticut;
Museum
Arts Center,
Art; Mr.
Landau Gallery,
New
York,
American
MABE
87
MANABU MABE,
46
X 46.
U.S.A.
NO.
3,
1968.
Oil
on canvas,
York.
New
Brazil in
Museum
de
Mus6e
Moderne de
la Ville
Paris, 1959;
Pan American
Mabe
in Lo
1959; Time
and the Museu de Arte Moderno, Rio de Janeiro, & Life Building, New York, I960; Galeria L'Obelisco, Rome, 1960; Galeria Slstino, Sao Paulo, Brazil,
II
work
is
in
Museum
of Fine
Arts;
Canale, Venice, Cavana, Trieste, Italy, 1962; Galleria 1962; Pan American Union, Washington, D.C., 1962;
Catherine Viviano Gallery,
New
York, 1968.
88
M\HASAIMA
iV;A.\iAKU
Oil
on canvas
with construction, 45 x 45 x 4. Lent by Mr. and Mrs. Robert Levyn, Los Angeles. Comoro Gallery, Los
Angeles.
Monscku Mincshima was born in Hokkido, Japan, in 1923. He studied at the Musashino Art University, Tokyo, 1959. Mr. Minashima has taught at the Honda Fashion School, Omuto, Japan, 1959-65. He lives in Son Gabriel, California. Mr. Minashima has received awards, ond special exhibitions
of his
at the
Omuto
Gallery,
1968.
group
exhibitions at the Fukuoko County Hall, Jopon, 1960-62; Omuta City Hall, Japan, 1963-65; Palm Springs Desert
Museum,
His
Inc.,
is
California, 1968.
in
work
represented
George
Honda, Mrs. Tomiko Sokota, Omuta, Japan; and Mr. Leo Moronz, Palm Springs,
Carroll, Los Angeles; Mrs. Yshido
California.
PORTER
89
Oil
on canvas,
Art Inslitule
of
and School
79
X 79.
Tibor de
Nagy
Gallery,
New
York.
was born in Winnetko, Illinois, in 1907. He studied at Harvard University, Cambridge, Massachusetts, where he received a B.S. degree; and at the Art Students League of New York with Boordman Robinson and Thomas Hart Benton. He lives in Southampton, New York.
Fairfield Porter
Nebrasko, Lincoln, 1962; National Institute of Arts and Letters, New York, 1962; The Pennsylvania Acodemy of the
Fine Arts, Philadelphia, 1962; Colby College, Watervllle, Molne, 1963; The Maryland Institute, Baltimore, 1964, 1966; World's Fair, New York, 1964; University of New Mexico,
Albuquerque, 1965; The Gallery of Modern Art, New York, 1965; Aldrlch Museum of Contemporary Art, Ridgefield,
Connecticut, 1965; Cincinnati Art
Museum,
1966; Purdue
Illinois,
1939; Tibor de
Nogy
New
Memorial Art Gallery, Memphis, 1966; The Akron Art Institute, Ohio, 1967; Flint Institute of Arts, Michigan, 1967; The Arkansas Arts
Center, Little Rock, 1967; Wilmington Society of Fine Arts, Delaware, 1967; Venice Blennole d'Arte, 1968.
is
in the collections of
The Cleveland
Museum
of Art;
In
many group
exhibitions
New
Art,
David Rockefeller, Mr. Paul Roebling, Whitney Museum of American Art, Mr. David Workman, New York; Sonte Fe Art Center; Joseph H.
Art, Mr.
Modern
American
Art,
New York, 1961; Whitney Museum of New York, annually since 1961; Kansas
Woodward
Foundation,
Washington, D.C.
90
E5TES
I 9?
RICHARD
Oil
on
York.
1936.
canvas, 48 x 69.
New
Evonston,
Illinois, in
He
Institute of
Chicago,
1952-56.
He
New
York,
New
York.
New
York, 1968.
been included
in group exhibitions at the Museum of Fine Arts, Boston, 1968; and at Vossor College,
Poughkeepsie,
New
York, 1968.
is
in
the
and Mrs.
Compony, New
York.
92 I Rli^i^LS
("\
ALaN MERRICK RIGGLE, Kinetic light V, 1968. Light on screen, 25 V2 x 251/2 x 8. Lent by Mr. and Mrs. Rick
Nelson, Los Angeles.
Ankrum
to
"My
OS a
drew me
experimenting with
light
medium. Perhaps this is a natural result of my extensive aerospace work in optics and mechanical
Alan Riggle was born
in
engineering."
in Los
Angeles, California,
1934.
He studied
Angeles
and Los Angeles Pierce College, Woodland He lives in Los Angeles, California.
Gallery, Fullerton, California;
Hills,
California.
Ankrum
Gallery, Los
Angeles.
His work and Mrs.
is
in
New
7^M ^^
lX-
JACKSON
I 93
RICHARD JACKSON,
72
X
Untitled, 1968.
Acrylic on canvos,
58.
Lent by Mr.
Los
He studied
at
He
lives in
E. B.
His
group exhibitions
at the
1963, 1964;
and
at the La Jolla
Museum
of Art, California,
1966.
1- *
94
BATl^NBERG
JOHN BAHENBERG,
1968.
Pfalz
Wing
Section
wood
in
struts,
98
36
16V2.
Milwaukee, Wisconsin,
Wisconsin,
in
He has studied
at the University of
Madison, 1949-50; Saint Cloud State College, Minnesota, where he received a B.A. degree In 1955; Ruskin School of
Drawing and
of Fine Art,
an M.A. degree
Arts
in
and
Crafts,
Wustum Museum
1955; Saint Cloud State College, Minnesota, 1955; Michigan State University, Eost Lansing, I960; Temple Gallery,
London, 1961; Contemporaries, Santa Fe, 1963; Richmond Comoro Gallery, Los Angeles,
in
group
RBA
Museum, Omaha,
1958;
GAGA
Woodstock
Philadelphia, I960;
1962;
St.
Washington Stote College, Belllnghom, 1964; Kaiser Center, Inc., Oakland, California, 1964; Richmond Art Center, California, 1964, 1966; Colifornia State Fair & Exposition Art Show, Sacromento, 1964-65; San Francisco Art Institute, 1964; Pacific Northwest Arts and Crafts Association, Bellevue, Washington, 1965; Museum West, Son Fronclsco, 1965; Pavilion Gallery, Newport Beach, California, 1966; San Fernando Valley State College, Northridge, California, 1966;
E. B.
The Hansen Gollery and Western Association of Art Museums, Son Francisco, 1966; Santo Ana College,
California, 1966;
Gordon Woodslde
Chompalgn,
Federation of Arts, New York, 1968; Hemisfair, San Antonio, 1968; National Collection of Fine Arts, Smithsonian
Institution,
Washington,
in
D.C., 1968.
His
work
is
of
Lelstershlre
Leistershire, England;
Weisman Foundation,
Los Angeles;
Oakland
Art
Museum,
Museum; New Mexico Western College, and Mrs. W. S. Bortmon; Mrs. George E. Morlenthal; Mr. and Mrs. James Valentine.
Seattle Art
City; Mr.
Silver
BRAIN ARD
95
p ^7.
JOE BRAINARD, Madonna with Daffodils, 1967. Gouache, 5A\\i x 22\a. Londau-Alon Gallery, New York.
"Like most painters,
I
am
interested in beauty.
is
The
Beautiful
Madonna and
Ctiild, to
me,
a beautiful subject.
abstract."
in
Salem, Arkansas,
in 1942.
Since
New
York.
He
lives in
New
York,
New
York.
Londau-Alon Gallery, New York, 1965, 1967; and work has been included in many group exhibitions.
at the
his
96 I
BURuHAM
^
JACK BURNHAM,
Gallery, Chicago.
Luminous ribbon on
144 x 360
240.
Richard Gray
in
New
York,
New
York,
in 1931.
He studied at the School of the Museum of Fine Arts, Boston; Wentworth Institute, Boston, 1956; Yale University, New Haven, Connecticut, where he received o B.F.A. degree in 1959, and an M.F.A. degree in 1961. Mr. Burnham has taught at Yale University, 1959-60; Wesley
College, Dover, Delaware, 1961-62; Northwestern University,
Evanston,
Illinois,
1962-68.
He
Is
Cambridge. He
lives in
Cambridge,
Massachusetts.
Special exhibitions of Mr. Burnham's work have been held
at the
Museum,
1967; Richard
Illinois,
1968.
in
group exhibitions
Art,
Highland Pork,
Illinois,
New
Haven,
Howard Wise
Art,
New
York, 1967;
in
Museum
of
Contemporory
Denver, 1968.
GOODNOUGH
97
ROBERT GOODNOUGH, V
canvas, 24 x 82.
Robert
1917. Tibor de
6,
1968.
Acrylic
on
and
of
Letters,
Nagy
New
Art,
New
Haven, Connecticut;
Goodnough was born in Cortland, New York, in He studied at Syracuse University, New York, where
The Museum
New
York;
Modern Museum
Art,
Whitney Museum
Carnegie
American
of Art,
Institute,
New
York;
Pittsburgh;
and elsewhere.
Hofmann School
Mossochusetts;
New
New
and
New
degree. Mr.
Goodnough was
New
He has taught
New
New
York,
New
York, 1960.
He
Mr.
lives in
New
York,
New
York.
Goodnough has
Nagy
Gallery,
New
Dwon
Novo
Goodnough's work is in the collections of The Baltimore Museum of Art; Mr. and Mrs. Melvin Hirsch, Beverly Hills; Birmingham Museum of Art, Alabamo; Albright-Knox Art Gallery, Buffalo; The Art Institute of Chicago; Wadsworth Atheneum, Hartford, Connecticut; The Newark Museum; Mr. Richard Brown Baker, Mr. and Mrs. Walter Boreiss, Mr. and Mrs. Lawrence Bloedel, Chase Manhattan Bonk, Mrs. Henry Epstein, Mr. and Mrs. William S. Ewald, Mr. and Mrs. B. H. Friedman, The Solomon R. Guggenheim Museum, Mr. and Mrs. Ben Heller, Mr. Harold Kaye, Manufacturers Honover Trust Company, The Museum of Modern Art, New York University, Mrs. Aristotle Onassis, Mr. ond Mrs. George Poindexter, The Hon. Nelson A. Rockefeller, Mr. and Mrs. J. Redmond Thomas, Mr. and Mrs. William Von den Heuvel, Whitney Museum of American Art, New York; Rhode Island
Mr.
Museum
Art,
Museum
of
Contemporary
S. C.
New
work hos been included in group exhibitions at the Samuel M. Koolz Gallery, New York, 1950; in Paris, 1954; at Sidney Janis Gallery, New York, 1956; The Art Institute
His
Loriilord; Mr.
98
CA0MOS
PAUL CADMUS, Sleeping Nude, 1967. Egg tempera on panel, 6 x 12. Lent by Dr. Thomas A. Mathews, Washington, D.C. Midtown Galleries, New York.
(1950. 1967)
"This tiny picture
Whitney Museum
of
American
Art,
New
York, 1934,
1936, 1937, 1938, 1940, 1941, 1945, 1963, 1965; The Art
Institute of
New
as a demonstration
technique of
was begun, from one of my drawings, of the to a young hopeful egg tempera painting; from the breaking
New
Academy
of the Fine
The Museum of Modern Art, New York, 1942, 1943, 1944; Museum of Art, Carnegie Institute,
Pittsburgh, 1944, 1945;
His
and elsewhere.
and
overpainting
and white and the subsequent flesh tones. The hopeful became hopeless at the intricacies and slowness of the method and dropped out, returning to oil and watercolor.
in
worm
work is In many public collections including those of the Addison Gallery of American Art, Andover, Massachusetts; The Baltimore Museum of Art; Cranbrook Academy of Art, Bloomfield Hills, Michigan; Fogg Art
University of North
The Art
Institute of
Chicago;
"I
found
that
liked the
commencement and
stimulated, and
perhaps
Ingres
finish
fertilized,
his
and
it.
in particular by bedtime book-looking decided to continue and Odalisques Unlike most of my paintings, this one is mostly
life,
the
in
the
Westmoreland County Museum of Art, Greenburg, Pennsylvania; Wadsworth Atheneum, Hartford, Connecticut; Kansas City Art Institute and School of Design, Missouri; University of Nebraska, Lincoln; Los Angeles County Museum of Art, Los Angeles; Milwaukee Art Center; The Brooklyn
my
He
Paul
In
New
York,
New
York,
in
1904.
Museum, The Metropolitan Museum of Art, The Museum of Modern Art, The New York Public Library, Sara Roby Foundation, Whitney Museum of American Art, New York; Norfolk Museum of Arts and Sciences, Virginia; American
Embassy, Ottawa; The Society of the Four Arts, Palm Beach, Florida; Museum of Art, Carnegie Institute, Pittsburgh; Rockford Art Association, Burpee Gallery of Art, Rockford, Illinois; Achenboch Foundation for Graphic Arts, San
Francisco; Seattle Art
Academy
and
of Design,
New
York,
League of
Locke.
New
In 1961,
Cadmus was
Institute of Arts
and
Letters,
New
York.
Museum; Sweet
He
Mr.
lives in
New
York,
New
York.
special
Cadmus has
received
The Sheldon Swope Art Gallery, Terre Haute, Indiana; Library of Congress, S. C. Johnson & Son Collection,
Notional Collection of Fine Arts, Smithsonian Institution, Washington, D.C; Williams College, Williamstown, Massachusetts; and in many private collections.
New
7^
BALLAINE
99
JERROLD
C.
BALLAINE,
H.
in
group exhibitions
Acrylic lacquer
on Uvex, 46
46
x 12.
New
Jerrold C. Balloine
1934.
was born
in Seottle,
Washington,
Museum
of
He studied
at the University of
Washington, Seattle,
Washington,
Seattle, 1960,
1962;
Gump's
San Francisco,
Gallery, Seattle, 1964, 1965; Berkeley Gallery, California. 1966; University of California, Berkeley, 1967; The
where he received a B.F.A. degree; and San Francisco Art Institute, 1960-61, where he received an M.F.A. degree. He
lives in Berkeley, California.
Hansen
in
American
work
Contemporary Crafts Museum and Whitney Museum of Art, New York, 1968; and Ithaca College, New
His
York, 1969.
is
Schoelkopf Gallery,
New
in
Sonoma
State College,
Museum of American Art, New York; San Francisco Museum of Art; Seattle Art Museum; and the Joseph H. Hirshhorn Collection, Washington, D.C.
Berkeley; Whitney
in
100 I
i'ELtY
.s^
BRET1 WHITELEY, The Bnd and the Beginning (or the Beginning of the End?), 1968. Oil, fiber glass, photographs, steel, barbed wire, grenade and rice,
New London
82 V2
146
X 20.
Marlborough-Gerson Gallery,
Inc.,
Gerson Gallery,
New
York, 1965;
Museum Boymans-van
Art,
New
Brett
York.
Carnegie
Whiteley was born in Sydney, Australia, in 1939. He studied at The Julian Ashton Art School, Sydney, Australia,
1957-59.
In
His
work
is
in
New
d'lxelles, Brussels;
New
York.
Komon
Gallery,
Institute of
Sydney, Australia, 1963; Marlborough New London Gallery, London, 1964, 1967; Boynthon Art Gallery, Adelaide,
Australia, 1966; Australian Gallery, Melbourne, 1966;
New
South Wales,
Pembroke College of Oxford University, England; Musee d'Art Moderne de lo Ville de Paris; Western Australian Museum, Perth; Museu de Arte Modern de Sao Paulo, Brazil; Art Gallery of New South Wales,
Sydney, Australia; Museum des 20. Johrhunderfs, Vienna; Library of Congress, Washington, D.C., Notional Art
Gallery of
New
Zealand, Wellington.
sf
10?
102 I
REIbACK
EARL REIBACK, Lumia, 1968. Lenses, prisms and light, 24 X 32 X 12. Esther-Robles Gallery, Los Angeles.
Earl
of Houston; La Jolla
Art Center;
Museum
of Art, California;
Milwaukee
Walker
Newark
Museum, New
Reiback was born
in
Jersey; Isaac
Delgado Museum
of Art,
of Art,
New
New
York,
New
York,
in
1936.
Museum
The Museum of
Modern
Art,
and ot the Massachusetts Institute of Technology, Cambridge, where he received an M.A. degree. He lives in New York, New York.
American
Art,
New York University, Whitney Museum of New York; Museum of Art, Carnegie Institute,
Museum
of
Pittsburgh; Aldrich
Contemporary
Art, Ridgefield,
Connecticut.
His
special exhibition of his work was held at the Howard Wise Gallery, New York, in 1968. Mr. Reiback's work has been included in group exhibitions at the Albright-Knox
Art Gallery, Buffalo; Massachusetts Institute of Technology,
work
is in
Museum
of Art, California;
Milwaukee
Art Center;
Walker
Cambridge; Museum of Contemporary Art, Chicago; Flint Institute of Arts, Michigan; Contemporory Arts Association
Whitney Museum
Art,
of
Carnegie
Institute, Pittsburgh.
MILNE
I ]03
fni,l>^b
DAVID MILNE,
84
X 168.
TenI, 1968.
Acrylic
and
oil
on canvas,
New
in London, England, in 1938. He studied at Ihe Salisbury School of Art, Wilshire, England,
He
lives in
and
his
work hos
British
been included
Artists Gallery,
in
group exhibitions
at the
Federoted
England, 1967;
His
New
New
York, 1968.
work has also been included in traveling exhibitions organized by the Arts Council of Great Britain, London, in 1963 and 1964.
His
work
is
in
New
York.
104 I
Vi/ilON
BRYAN WILSON, JuvenWe Harpy Eagh, 1968. Casein on canvas, 48 x 50%. Lent by Mr. and Mrs. John J. Pascoe, Tacoma, Washington. Gump's Gallery, San Francisco.
(19611
Is
in
and Mrs.
He
Stuart
Mr.
Saunders, Ardmore, Pennsylvania; Mr. and Mrs. Harry W. Anderson, Mr. and Mrs. Brooks Walker, Atherton,
T.
Wilson
work
hove been held at St. Mary's College of California, Morago; The Alan Gallery, New York; ond E. B. Crocker
Art Gallery, Sacramento, California.
New
Gump's
1961;
and Mrs. Sanford Simmons, Long Beach, American Federation of Arts, Chase Manhattan Bank, New York; M. H. de Young Memorial Museum, Mrs. R. G. Follis, Jr., Mr. and Mrs. Prentis Cobb Hale, Mr. and Mrs. Louis Honig, Mr. and Mrs. Robert Hunter, Mrs. Bruce Kelham, Mr. and Mrs. John McGuire, San Francisco Museum of Art, Standard Oil Company, San Francisco; Stanford University, California; Mr. and Mrs. Paul Mellon, The Woodward Foundation, Mr. Stanley Woodward,
California; Mr. California; The
Sr.,
R.
Philip
Hones,
Jr.,
Museum,
University of Illinois,
Champaign,
The
HOLLAND
r)
/l05
/i1rVl
THOMAS HOLLAND,
Malibu Series -32, 1968. Epoxy and fiber glass, 98 x 62 x 9. The Hansen Gallery, San Francisco.
"^32
cut,
The fiber glass sheets are IS from Malibu Series. formed and riveted together. Then brush painted with epoxy paints.
work has been included in group exhibitions at the Son Francisco Art Institute, 1963, 1967; Richmond Art Center,
His
"w-32 hangs on a
hang from
wall
others
of the series
wrap around
Art,
Museum,
ceilings.
Museum
of Art,
Thomas Holland was born in Seattle, Washington, in 1936. He studied at Willomette University, Salem, Oregon, 1954-56; University of California, Santa Barbara and Berkeley, 1957-59. Mr. Holland was the recipient of a Fulbright Fellowship to Santiago, Chile, in 1960. He has taught at the San Francisco Art Institute, 1962-67 and
currently
is
1965; Los Angeles County Museum of Art, Los Angeles, 1966; The Pennsylvania Academy of the Fine Arts, Philadelphia,
of Art,
Robert Kantor,
Mrs.
Illinois;
He
lives in
Malibu, California.
Roy Moore, London; Lytton Savings ond Loan Association, Los Angeles; Oakland Art Museum, Dr. Samuel West, Oakland, California; The Hon. Mark Hatfield, Salem,
Richmond Art Center, California, 1962, 1966; Lonyon Gallery, Palo Alto, California, 1963, 1964, 1965; Nicholas Wilder
Oregon; Miss Lois Hansen, Mr. and Mrs. Robert Louter, San Francisco; Mr. Sterling HoMowoy, South Laguna,
California; Stanford University, California.
t-
,.
''
106 /
KITO
MASANDO
Masando
in
KITO, No.
S.F.
canvas, 61 x 49.
Kito
was born
Nagoya, Japan,
in
1937.
lives
He
He
Tokyo, Japan.
Special exhibitions ot
Kilo's work have been held San Francisco, 1965, 1967, 1968; in Nagoya, Japan; and at the Muromalsu Gallery, Tokyo. His work also has been included in group exhibitions at
Masando
the Notional
Museum
of
Modern
Art,
Tokyo.
BEASLEY
/ 107
BRUCE BEASLEY, Kittyboffm, 1968. Luciie acrylic, 27 Vi X 44 X 12, The Hansen Gallery, San Francisco.
"After working
I
Stuart Galleries,
in
welded and
became
in
some years, An
for
in
group exhibitions
Oakland
Art
Museum,
California, I960;
Richmond
showed
it
to
be unsuited
what
Museum
had
to
mind.
'costing' plastic
then
knew
of.
Its
an investigation of acrylic. Acrylic hod the clarity was was impossible to cast in large and varying cross sections, or so was told by the plastic industry. Many months of laboratory work resulted in the technique am now using to cast acrylic sculpture. It is a difficult and demonding technique which allows little room for error.
after, but
I I
New York, 1961, 1962; San Francisco Art San Francisco Museum of Art, 1961, 1963, 1966; Kaiser Center, Inc., Oakland, Colifornia, 1963; Musee d'Art Moderne de la Ville de Poris, 1963; University of California,
Berkeley, 1964; Albright-Knox Art Gallery, Buffalo, 1964;
La Jolla
Fair
Museum
& Exposition
Regardless of
its
difficulties,
however,
am
is
fascinated by
Museum
what
it
lack of time to
pursue
possibilities."
in Los
Angeles, California,
in
Solomon R. Guggenheim Museum, New York, 1966; Son Fernando Valley State College, Norlhridge, California, 1966.
His
He studied
at
New
Mr.
work
is
in
Weisman, Beverly
Oakland, California.
and Mrs. Milton Sperling, University Solomon R. Guggenheim Museum, Johnson Foundation, New York; Musee d'Arl Moderne de lo Ville de Paris; Mr. and Mrs. Tevis Jacobs, San Francisco; and the Marin Art Museum, Son Rafael,
Art, Mr. Bart Lytton, Mr.
New
California,
108
/morris
otOftGE
L.
K.
Oil
on
York.
canvas, 45 x 54.
New
Washington,
D.C., 1965.
in
His
George I. K. Morris was born in New York, New York, 1905. He has studied at Yale University, New Haven, Connecticut, where he received a B.A. degree in 1928;
Art Students League of
in
and
His
work
is
in
Champaign; Encyclopaedia
New
Paris, 1930.
He
He
lives in
Lenox, Massachusetts.
New
New
Haven,
special exhibitions
Connecticut; American
Academy
and
Letters,
New
Pitlsfield,
Massachusetts,
New
Madison Square Garden Corporation, The Metropolitan Museum of Art, New York University, Whitney Museum of American Art, New York; University of Oklahoma, Normon;
The Pennsylvania Academy of the Fine Arts, Philadelphia
New
New
York,
1936; The
Downtown
Gallery,
New
Museum
Pittsfield,
of Art, Philadelphia;
The
Alan Gallery,
New
Arts,
Munson-Williams-Proctor
New
York;
Center, Peterborough,
New
Hampshire, 1955;
Institute of
Contemporary
Washington,
Museum, Kansas.
LAMI5
\
1 109
CO
LEROY LAMIS, Construction Number ?5?, 1968. Plexiglas, 40 72 high (5 pieces, each 8 1/4 x 8 x 8V4).
Staempfli Gallery,
Museum Museum
of Arts
1961;
Herron
New
in
York.
(1965)
He
studied at
New
Morgantown, 1963; Scripps College, Ciaremont, California, 1964; Boll State University, Muncie, Indiana, 1964; Martha
Jackson Gallery,
New
Columbia University,
New
Americon
Art,
New York, 1964; V/hitney Museum of New York, 1964, 1966; Krannert Art Museum,
Champaign, 1965; The Museum of
York, 1965; Jerrold Morris Gallery,
York, 1954-56.
University of Illinois,
and since 1960, at Indiana State University, Terre Haute. He lives in Terre Haute,
Indiana.
Modern
Art,
New
is
Toronto, 1965.
in
and
special
New
York, 1966;
and
at
and Mr. Seymour Knox, Buffalo; Mr. Stanley Marcus, Dallas; Mr. George Rickey, East Chatham, New York; The Contemporaries, Mr. John Gordon, Mr. Howard
Art Gallery,
His
group exhibitions
R.
Vv'.
Sarnoff,
Museum
New
American
Art,
Museum,
Washington, D.C.
no
SAUL
PETER SAUL, Typical Soigon, 1968. Acrylic, oil, and enamel on canvas, 93 x 144. Allan Frumkin Gallery,
Chicago.
Peter Soul
Inc.,
was born
in
in
1934.
School of Fine Arts, San 1950-52; Francisco, 1950-52; Stanford University, California, and at Washington University, St. Louis, with Fred Conway,
He studied
at the California
where Mr. Soul received a B.F.A. degree in 1956. In 1962, and he was the recipient of a groni from the William
Noma
California.
Special exhibitions of Mr. Soul's work hove been held at the Allon Frumkin Gallery, Chicago, 1961, 1963, 1964,
1966, 1968; Allan Frumkin Gollery, Inc., Nev/ York, 1962, 1963, 1964, 1965, 1968; Galerie Breleau, Paris, 1962, 1963, 1964;
Rolf Nelson Gallery, Los Angeles, 1963; Galleria La Torlarugo, Rome, 1963; Nolizie Gallery, Turin, Italy, 1964; Galerie Anne Abels, Cologne, Germony, 1965; California
been included
in
group exhibitions
at
the Solon des Jeunes Peintres, Paris, 1959, 1960; Dayion Art Inslilute, 1961; University of Colorado, Boulder, 1962;
The Art
Institute of
University of Michigan,
Chicago, 1962, 1963, 1964, 1968; Ann Arbor, 1963; Abbey SoinNPierro,
Lausanne, Switzerland, 1963; Galleria La Torlarugo, Rome, Haogs Gemeentemuseum, The Hague, 1964; Museum
of
Contcmpcrary
Institute,
Chicago, 1968;
Museum
of Art,
Carnegie
Pillsburgh, 1968.
His work is in the collections of The Art Insli/ute of Chicago; The Museum of Modern Art, New York; and Oberlin
College, Ohio.
'^
112 /
JACOBSEN
a(?5;,
RODGER JACOBSEN,
chromed
steel,
Rodger Jacobsen was born in Seattle, Washington, in 1939. He has taught at the University of Illinois, UrbanoChampaign, 1964-65; Maidstone College of Art, England, 1965-66; West of England College of Art, Bristol, 1965-66; and since 1966, he has taught at the San Francisco Art Institute. He lives in Son Francisco, California.
Special exhibitions of Mr. Jacobsen's work have been held
at the Dilexi Gallery,
Museum
York, 1965; and Son Francisco work has been included in group exhibitions at the Kaiser Center, Inc., Oakland, California, 1963; California Palace of the Legion of Honor, Son
of Art, 1967.
His
New
and
at the
Switzerland, 1966.
Mr. Jacobsen's work
is in
&
Co.,
Museum
of Art,
GREENE
/ll3
STEPHEN GREENE, Blue Line, 1966. Oil on canvas, 32 X 36. Lent by the Chase Manhattan Bank, New York.
Staempfli Gallery,
New
York.
1963)
Museum
of Fine Arts,
New
York,
He studied
at the Art
Students League of
City, with
American
Art,
Youngstown,
York,
PhiMp Guston,
New
he received B.F.A.
Academy
of Design,
New
Museum
York;
and the College of William and Mary, Williamsburg, Virginia. Mr. Greene was awarded a Prix de Rome, 1949; and a grant from the Notional Council on the Arts, Washington, D.C., 1967. He has taught at the Art Students League of New York, Pratt Institute, and at Columbia University, New York. He was artist in residence at
Princeton, University,
Walker Art Center, Minneapolis, 1954; Moderne de la Viile de Paris, 1954; The Museum
1956; Salzburger
Museum
1961;
Museu de Arte
de Culturo
Institute
New
Jersey, 1956.
Presently he
He
lives in
Valley Cottage,
New
York.
Illinois,
Champaign;
New
Museum,
Gallery,
Lincoln,
Inc.,
The Art
Institute of
Institute of Arts;
Wadsworth Atheneum,
Herron Art
University,
New York, 1955, 1956, 1958, 1959; Princeton New Jersey, 1957; Staempfli Gallery, New
Kalamazoo
Institute of
Institute, Indianapolis;
Nelson Gallery-Atkins
Museum, Kansas
London;
Arts, Michigan, 1963-64; University of Minnesota, Minneopolis, 1963-64; Tennessee Fine Arts Center, Nashville,
Museum
of Art, New Orleans; The Solomon R. Guggenheim Museum, The Metropolitan Museum of Art, The Museum of Modern Art, New York University, Whitney Museum of
Tocomo
Museum, Washington,
Detroit, 1967.
American Art, New York; Princeton University, New Jersey; The Virginia Museum of Fine Arts, Richmond; City Art Museum of St. Louis; Hamline University, St. Paul,
Minnesota; Santa Barbara
Museum
of Art, California;
Art, Los
Angeles,
Munson-Williams-Proctor
University,
Institute, Utica,
New
York; Brondeis
Academy of Design, New York, 1945, 1946; Whitney Museum of American Art, New York, 1945, 1946,
1945; National
Gallery of
lU
iMSRSON
CHARLES EMERSON,
Untitled
7968
Venez/a
Series,
3.
1968. Mixed media on moulded fiber glass, 72 x 72 x Esther-Robles Gallery, Los Angeles.
Chorles Emerson was born
1935.
in Los
Angeles, Colifornio,
in
He studied at the University of Soutiiern Colifornio, Los Angeles, where he received a B.A. degree in 1957; and Yale University, New Haven, Connecticut, where he received an M.F.A. degree in 1963. Mr. Emerson was the recipient
of o Fulbright
Grant
Mr. Emerson's work has been included in group exhibitions at Palazzo Venezio, Rome, 1962; II Traghetto, Venice, 1962;
Studio 35, New York, 1964; California Stote College at Los Angeles, 1966; Lytton Center of the Visuol Arts, Hollywood,
Colifornio, 1968;
Los Angeles.
ond the
Los
Art,
^llfvjHr^
w .7
PRESTINI
/ 115
JAMES
4134
X
PRESTINI, :=:?59, 1967. Structural steel, I8V4 X 7V4. Goleria Carl Van der Voort, San
Francisco.
"The concept of my sculpture is to communicate the influence of science and technology on our culture through art. hove used mass produced structural elements: l-beoms, H-beams, channels, angles, pipes and tubes. The elements have been machined and finished by industrial methods. The preciseness and crispness of the forms and spaces generated by the sculpture is the result of the use of products of industry and the control of technology."
I
James
in
Presfini v/as
born
In
Waterford, Connecticut,
He studied at Yale University, New Haven, Connecticut, where he received a B.S. degree in 1930; at Stockholms Universitet, Stockholm, 1938; and at the Institute
1908.
of Design of Illinois Institute of Technology, Chicogo, 1939.
Among
won
are those
from The
Museum
of
Modern
Art,
New
in
York, 1948;
Deportment of
State,
Washington,
D.C., 1951;
Graham
Mr.
Technology,
He
special
Museum
of
Duke
College of
Dallas
Durham, North Carolina, 1939; William and Mary, Williamsburg, Virginia, 1939;
University,
of Fine Arts, 1940; University of Kansas,
Museum
Museum, Omaha,
Museum,
1940; National
Cincinnati Art
Museum,
Ahmedebod
Museum, Ahmedebod,
White Gallery,
New
York, 1965.
In
group
Art,
Museum
of
Modern
New
Museum,
Stockholms Universitet, Stockholm, 1938; The Denver Art 1939, 1950; The Baltimore Mussum of Arl, 1940,
1941, 1944, 1947; Institute of
Contemporary
Art, Boston,
1940, 1949, 195J, 1958; Albright-Knox Art Gallery, Buffalo, 1940, 1947, 1959; The Cleveland
Museum
Urbona-Chompolgn, 1953;
The Minneapolis
St.
Paul Gallery
and
Museum
of Fine
Museum
Museum,
Museum
Oregon,
New
American Craftsmen's Council, New York, 1960, 1967; Ruth White Gallery, New York, 1964, 1965; ond elsewhere.
of the
Contemporary Crafts
New
His
work
is
in
Walker
Museum
of Art,
Wayne
University of Minnesota,
Museum
of
St.
Louis,
Minneapolis;
Museum
of
New
York, 1951;
1951; University of
American Croftsmen's Council, The Museum of Modern Russell Sage Foundation, New York; E. B. Crocker Art Gallery, Sacramento, California; Seattle Art Museum; Department of State, Washington, D.C.
J?6
/bR42>SHAW
C It^'a n-h
WiLLiAM
Bellini,
T.
BRADSHAW,
Comara
Gallery,
Los Angeles.
in El
Paso, Texas,
in
1928.
He studied
1952.
Italy,
where
in
He was the
Lewinson
and
at the
Comara Gallery,
at the Los
work has been included in group exhibitions Angeles County Museum of Art, Los Angeles, 1958; Municipol Art Gallery, Los Angeles, 1959; in San Bernardino, California, 1965; at The Fine Arts Gallery of San Diego, 1965; Long Beach Museum of Art, California, 1966; Mt. San Antonio College, Walnut, California, 1967;
His
is
in
KAISH
/ 117
Kill,
No.
h 1968.
Bronze,
16V2 X 1963)
10.
Staempfli Gallery,
New
York.
(1959, 1961,
Luise Kaish
was born
in
She has
New
in
1946,
de Pintura
y Escultura,
and with Ivan Mestrovic, 1947-50. Miss Kaish received a Louis Comfort Tiffany Foundation Scholarship, 1950; and a John Simon Guggenheim Memorial Foundation Fellowship, 1959. She lives in New York, New York.
Special exhibitions of Miss Kalsh's work hove been held
at the Sculpture Center,
New
New
New
St.
York, 1959;
Staempfli Gallery,
New
Paul Art
in
group exhibitions
at
The
Museum
of
Modern
Art,
New
Academy
1952;
of Design,
New
Academy of the Fine Arts, Philadelphia, Birmingham Museum of Art, Alabama, 1954; National
Pennsylvania
Association of
Women
of
Artists,
New
Art,
Whitney Museum
1964;
American
New
New
Audubon
Artists, Inc.,
New
of Arts
New
Urbano-Champoign, 1959,
Mount
Holyoke College, South Hadley, Massachusetts, 1962; Ohio University, Athens, 1963; Ball State University, Muncie, Indiana, 1963; Albright Knox Art Gallery, Buffalo, 1964;
The Mint Museum
of Art, Charlotte, North Carolina, 1964;
*TnTr*'".'.^|
in
Museum
Mudd,
Los Angeles;
Amoco Chemicals
John
A.
S.
List,
Sornoff,
Whitney Museum
B"Rith
American
Art,
Temple
St.
New
^^LwK'
118 I
NlCKli
\.\
tr-^/
>
ROBERT NICKLE,
Untitled, 1964.
Saginaw, Michigan,
1942;
and
at the Institute of
Design of
Illinois Institute of
Chicago
He
lives in
Chicago,
Gray Gallery,
group exhibitions Chicago,
Chicago, 1968.
Mr. Nickle's work has been included
in
at
New
The Arl
Institute of
is
Forman, Mr. Roy Friedman, Mr. Leonard Horwich, Jr., Mr. Charles Murphy, Sr., Mr. Joel Starrels, Mr. Allan Warwell, Mr. Harold Weinstein, Mr.
Irving
Oak
Park,
Illinois.
-M ,73
LBCHAY
U9
JAMES LECHAY,
1966.
Oil
on canvas, 46 Vs
(1948, 1951)
37^8
New
York.
James Lechay was born in New York, New York, in 1907. He studied at the University of Illinois, Urbano-Champaign, where he received a B.A. degree in 1928. He has painted with Myron Lechay. He was the recipient of an Honorary Doctor of Fine Arts degree from Coe College, Cedar
Rapids, Iowa,
in 1961.
University, Californlo;
New
Iowa
special
Rapids Art Center, Iowa; Des Moines Art Center, lowo; Blonden Memorial Art Gallery, Fort Dodge, lowo; HolMns College, Virginia; The University of Iowa, Iowa City;
Woman's
of Art.
In
group exhibitions
of Art,
Museum
Alabama; Indiana
Columbus Gallery of Fine Arts, Ohio; The Denver Art Museum; The Detroit Institute of Art; Fort Worth Art
Center; Herron
Museum
Museum, Nebraska Art Association, Lincoln; The American Federation of Arts, The Brooklyn Museum, The Metropolitan Museum of Art, Whitney Museum of American Art, New York; The Pennsylvania Academy of the Fine Arts, Philadelphia; Museum of Art, Carnegie Institute, Pittsburgh; The Virginia Museum of Fine Arts, Richmond;
University, Ithaca,
New
Kansas
City, Missouri;
Museum
of
St.
San
Francisco; The
Museum
Museum
of Art; University of
Urbano-Champoign; The Corcoron Gallery of Art, Washington, D.C.; Palm Beach Art Institute, West Palm Beach, Florida; Worcester Art Museum, Massachusetts.
His
work
Is
in
Wesleyan Cedar
Art Institute
Chicago; Davenport Municipal Art Gallery, lowo; Des Moines Art Center, lowo; The University of lowo, lowo City;
of
Gallery, Memphis;
New
Britain
Museum
of
American
Art,
Art
of the Fine
Syrocuse University,
New
York; Arizona
State University,
Tempe; Washburn
University, Topeka,
Museum, Kansas.
720
\.^\1\>J
HAROLD PARIS, Wall Piece F, 1968. The Hansen Gallery, San Francisco.
"Back into a time-place that was surrendered and been forgiven
has washed
Ploslic,
96
48
x 12.
Why?
So
it
PARIS
could be understood
I 121
forgotten
lost, that
hod
. . .
Rain
my eyes
clear
and down
soul.
Where did it oil come from? Where was it so forgotten and so now remembered. All the trials and starts and skirmishes now find a way to
reveal
me my
the running
streaks of the
Through the seeing of remembering sending a message of love. Do we exist because of If? no more than for the
lack of
Is
it it.
really therel
it
to see
No,
is
there really.
to close this
room,
this utter
phantasy
and
and consciousness has lifted the inner core of my being. Unending, over and over to wait. How did this come to pass? Finally to know and to believe why am an ortist and why and how hove come to this 'Koddish.' Bright images evolved with new
I I
Why
it
is
If
closed?
isn't.
is
There
no entrance.
is
there
Shall no
olso no exit.
it?
reason os a beginning.
It
is
a Koddish for
all
the
'lost'
life, oil
that cannot
be again and
all
that
ever
is
What
all
is
too must
moke
I
my dreoms
of outside."
in
this affirmation.
What do
all
room,
is oil
this ineffable
statement
the
wonder
forth.
con evolve
I
Edgemire,
New
York, in 1925.
Kijnste,
He hos studied
at the
summon
the
image
Why was
unable
to say the
word,
to let
New
York.
York;
and
visions
Block
and
New
'life ond death,' soft-resilient, hard-soft, soft-hard, and then the hot and cold of sonctuary terror. Crypts, chambers, tombs, burials unearthed ond found again, free.
white,
Newcomb
College
now beneath
cold
man, a mortality
all this
content.
Pains of an unburdened
this
New
tender
outer skin
New
York.
to
and he
lives
on experience only
to the senses.
Oakland, California.
graves? And the heat within, the chamber walls cry and scream ond awaken there is no sleep here. How clear
become. am a penitent and a catalyst to my own self and work. A vehicle perhaps o conscience. The anguish of making this room now can be lived and willed. What is (t this Kaddish this refutation? It is o long, long voyoge into my past the war, my childhood, the
all this
I
New
Gallery,
New
it
all
that
Seattle.
imbedded gutting these irresolute shapes. To make this huge chomber and to stand mute, unknowing, severed, torn, bleeding within. Before it a smoll mound to gaze and store ond ponder at these never to enter walls. No one may ever see this room to wonder at and to know. The blind con
be witness
to this
feel).
group exhibitions
in
Barcelona, Spain;
Museum
tell
us
sits
see?
All of the
it
truly for
you
is
and mind. No door, no entrance and no one to enter and tears in my eyes in my being will close this room never to open to deny to take of this essence and seal it seal it os o bond between myself and the love feel for the all of man. can do only this. A silent testimony to our passing, the cry of the stoned and the cries of the just. This is for the
I
my
skeptic, to fear, as in
of benigness.
set in vines
is
'ever
too long
Washington, D.C.
if
Whot does
look like?
His
soul.
work
is
in
my
Grond
Forks;
Who
can see
it?
Where does
it
come from
Museum
of
Modern
Art,
The
New
and o scream
in Viet
Nam.
Whitney Museum of American Art, New York; Oakland Art Museum, Colifornio; Philadelphia Museum of Art; Phoenix Art Museum; California Palace of the Legion of Honor, Son Francisco Museum of Art, Son Francisco; Joseph H.
Hirshhorn Collection, Library of Congress, Notional
Gallery of Art, Washington, D.C.
Who
closed
it?
We, you
did.
-7^^
122 I
TFIESAUD
^^
WAYNE
and
pastel on canvas,
Museum,
work
University of Illinois,
Champaign,
and Mrs. Stephen
New
York.
1965, 1967.
His
is
born in Mesa, Arizona, in 1920. Sacramento State College, California, where he received B.A. and M.A. degrees. Mr. Thiebaud has been the recipient of several awards, grants and fellowships. He taught at Sacramento City College, California in 1951; at the San Francisco Art Institute in 1958; and at Cornell University, Ithaca, New York, 1967. He has been teaching
at the University of California, Davis, since I960,
in
Houston; Mr. and Mrs. Jack Glenn, Nelson Gallery-Atkins Museum, Kansas City, Missouri; Mr. John Coplons, Los Angeles; The Newark Museum, New Jersey; Mr. Horry F.
and he
lives in
Hood, California.
Crocker Art Gallery, Sacramento,
Francisco, 1953; San
Abroms, Mr. Richard Brown Baker, Mr. Phillip A. Bruno, Mr. Corter Burden, Mr. John Chamberlain, Mr. and Mrs. William
Copley, Mr. Ben Heller, Mr. Philip Johnson, Mr.
Mr. Leon Kraushar, The
been held
at the
E.
B.
Max
Kozloff,
California, 1952;
New
York, 1962,
Young Memorial
Museum, San
Modern Art, Mr. and Mrs. Richard Robb, Mr. A. Sobel, Mr. James Thrall Soby, Whitney Museum of American Art, Mr. and Mrs. Albert Wise, Mr. Honford Yang, New York; Oakland Art Museum, California; Miss Audrey Sabol, Philadelphia; Aldrlch Museum
of of
Museum
Contemporary
St.
in
numerous group
Gallery,
Museum, Kansas
Contemporary
Woltham,
Arts,
Museum of Art, Los Angeles, 1963; The Solomon R. Guggenheim Museum, New York, 1963; Akademie der
Berlin, 1964;
The
Woodward
The Art
Institute of
Mayer, Wlnnetko,
Gollln; Mr.
W. Goodhue;
Mr.
Samuel Sacks;
Museum des
20. Johrhunderts,
Mr. A.
B.
Sheldon.
GE/S
/ 123
P
WILLIAM
R.
GEIS
III,
my work
took to
of
is based on the relation of space with would be the place, the time, how long It look from one place to another. The differentness
Washington, D.C., 1967. Mr. Geis has taught at the San Francisco Art Institute, 1965-68, and is currently teaching at Sacramento State College, California. He lives in Woodacre, California.
Arts,
is
how
long
1966;
Quay
Foir,
San Francisco, 1963; San Francisco Art Gallery, San Francisco, 1967.
in
is
then possible
seem
to
His
group exhibitions
spatial change.
Since meaning
at the
New
one spends time at, then it would follow that the most meaning would be contained in the most time.
"Therefore compressing time so as to make
while gives meaning as one looks."
it
Institute, 1965; in
Academy
seem a long
University of
in
Salina, Kansas,
1940.
He
a John Simon
numerous public and private Monte Factor, Los Angeles County Museum of Art, Los Angeles; Oakland Art Museum, Dr. Samuel West, Oakland, California; Mr, Sterling Holloway,
in
124 I
UBMANN
GcRHARDT LIEBMANN,
72
X 96.
Pylon, 1968.
Acrylic on board,
In
1950,
in
Stable Gallery,
New
York.
Mr. Liebmann
was the
recipient of a Fulbright
me.
this
He
lives in
concern.
They are
of a
New
York,
New
York.
me
to
when
suggest scale,
deserts, almost
of brick.
The vastness
New
York,
in
1968.
included
Design,
in
group exhibitions
at the
Notional
Academy
and
of
of units 4 inches
by
8 inches.
New
Museum
of Arts
"More importantly,
the
man
himself creates
cells.
And he does
this laboriously
work
Is
in
and
patiently, brick
by brick by brick."
Gerhardt Liebmann was born in Los Angeles, California, in 1928. He studied at Harvard University, Cambridge, Massachusetts, where he graduated magna cum laude and
Island;
RICHARDSON
/ 125
SAM RICHARDSON,
Valley, 1968.
Fiber glass
and lacquer, 39
(1967)
95
x 6.
Sam
in
Oakland, California,
in
in
1934.
He studied
at the California
and an
and
Crafts,
Oakland
presently
He
at
lives in
The Hansen Gallery, San Francisco, 1961, 1962, 1966; Humboldt State College, Areata, California, 1967; EstherRobles Gallery, Los Angeles, 1968. His work has been included in group exhibitions at the California Palace of the Legion of Honor, Son Francisco, 1961; Mortimer Brandt Gallery, New York, 1962; Oakland Art Museum, California, 1962; Museum of Contemporary Crafts of the American Craftsmen's Council, New York, 1963; Richmond Art Center, California, 1964, 1965, 1966, 1967; San
Francisco
Museum
E. B.
Crocker Art
1967; Esther-
Museum,
of
University of
Illinois,
Champaign,
Museum
American
Art,
New
York, 1968.
is
and Mrs. and Mrs. Arthur Goldberg, Whitney Museum of American Art, New York; Mr. and Mrs. Alvin N. Haas, Ohio; Miss Sally Heller, San Francisco; Mr. and Mrs. Joseph Mendelson, Santo Monica; Mr. Sterling
in
Hills;
Mr.
*^^^^
726/
OSBORN
i^OBERT
Pastel, dry
tempera
New
Museum
of Fine Arts,
New
York.
in
Richmond, 1952; Wadsworth Atheneum, Hartford, Connecticut, 1958; The Brooklyn Museum, New York, 1959,
1961;
New
Oshkosh, Wisconsin,
British
in
1904.
He studied
University,
at the University of
Katonoh Gallery,
New
and
New
Friesz
Rome, 1928-29; Academle Scandlnave, Paris; and Despiou. Mr. Osborn has taught at the Hotchkiss
From 1935-39, he
in
Arboretum, Oshkosh, Wisconsin, 1964; The Corcoran Gallery of Art, Washington, D.C., 1965; The Berkshire Museum,
Pittsfield,
Massachusetts, 1967.
is
in
Europe.
He
his
many
is
the author
and
have appeared
The
New
Republic, and
New
Yorker.
in
Salisbury, Connecticut.
Addison Gallery of American Art, Andover, Massachusetts; Atlanta University, Georgia; in Azeitao, Portugol; at the University of North Corolino, Chapel Hill; Container Corporation of America, Chicago; The Detroit Institute of Arts; Wadsworth Atheneum, Hartford, Connecticut; Paine Art Center and Arboretum, Oshkosh,
Wisconsin; The Corcoran Gallery of Art, Washington, D.C.
ALLBN
n?
BOYD
canvas, 74 x 65.
the
Oakland
Art
Museum,
Museum
of Arf, 1955,
Muskegon, Michigan,
In 1931.
He
Richmond Art Center, California, 1958, 1959, 1960, 1961, 1962, 1963, 1964, 1965, 1966; M. H. de Young Memorial Museum, San Francisco, 1958; The Newark
1956, 1957;
Since 1962
Museum, New
Ann
Museum
He
New
His
New
Oakland, California, 1964; Berkeley Gallery, San Francisco, 1964, 1966, 1967; Chlco State College, California, 1965; Brand Library of Art and Music, Glendale,
Mills College,
California, 1967.
In
group exhibitions
at
work Is in the collections of the Wesley Foundation and the Westminster Foundation, Athens, Ohio; The Newark Museum, New Jersey; Art Commission, City and County of Son Francisco; Art Gallery of Greater Victoria, British Columbia; Mr. James Wlntersteen.
128 /
MALLORY
RONALD MALLORY,
Ltd.,
Contained Mercury
air,
Line,
1968.
25
x 25.
Galerla Bonino,
New
York.
(1967)
in
Philadelphia, Pennsylvania,
1935.
He studied
ot the University of
Colorado, Boulder,
where he received
de Belcs Artes, Rio de Janeiro, with Roberto Burle Marx, 1956; and at the Academie Julian, Paris, 1958. He lives
in
New
York,
New
York.
New
Museum
Art,
Contemporary Arts Association of Houston, 1966; The of Modern Art, Whitney Museum of American
New
New
Museum
of Contemporary Art, Ridgefield, Connecticut, 1966; San Francisco Museum of Art, 1966; Institute of Contemporary Art, Boston, 1967; Krannert Art Museum,
University of Illinois,
Arts,
Champaign, 1967;
Flint Institute of
New
Brunswick,
New
Philadelphia, 1967;
Museum
is
of Art,
Carnegie
Institute,
Museum, Massachusetts,
1967.
in
Brown Baker, Chase Manhattan Bonk, Mr. Jacques Kaplan, Mr, and Mrs. Harold Lippman, Mrs. Albert A. List, The Museum of Modern Art, Mrs. George Staempfli, Whitney Museum of American Art, New York; Aldrich Museum of Contemporary Art, Ridgefield, Connecticut; University
of Arizona, Tucson.
LEE
KRASNER,
X
68
100.
KRASNER
129
Brooklyn,
New
York,
in 1911.
She
of
New
Academy
Design,
New
New
York, 1933;
lives in
New
at
York,
New
York.
New
New
New
York, 1958;
New
York, 1959;
Howard
Wise Gollery,
Britain,
New
New
York, 1968.
in
numerous group
1941-42;
Works Progress Administration, Washington, D.C., and exhibitions held at the Palazzo Groneri, Turin,
Galerie Beyeler, Basle, Switzerland, 1961;
1961; loing Art
Italy, 1959;
New
New
1962;
Wadsworth Atheneum, Hartford, Connecticut, Howard Wise Gallery, New York, 1962; Mount Holyoke College, South Hodley, Massachusetts, 1962; The Museum of Modern Art, New York, 1963-65; The Solomon R. Guggenheim Museum, Marlborough-Gerson Gallery, Inc., New York, 1964; Long Island University, Gollery of Modern Art, New York, 1965; The Jewish Museum, New York, 1967; Notional
York, 1962;
Collection of Fine Arts, Smithsonian Institution, Washington,
D.C., 1967.
I..
IU.V.M
!.
730
RICKEY
I 131
GEORGE
"My
Steel,
156 high.
Institute of
Contemporary
Dovid Stuart
Staempfli Gallery,
New
is
York.
to
New
York,
work from Nature but in a study the motions which Nature's laws particular way. permit that Is within my range of understanding and technical ability. embody this ospect of Nature In freely composed kinetic' sculptures. The designs behave like machines but echo and suggest living forms. The forces which come to bear and the shapes and movements they engender do not imitate Nature. But their performance is analogous to organic life and may appear to be associated
present concern
I
1964, 1967;
Walker
group exhibitions
Uptown Gollery,
New
Museum
American
New York, 1951; Whitney Museum of New York, 1952, 1953, 1964, 1966, 1967;
The
Pennsylvania
Academy
with
it."
in Art,"
1961, as reprinted in
"George
York,
Brown Gallery, Boston, 1953, 1954, of Art of Ogunquit, Maine, 1953; The Denver Art Museum, 1957, 1959; Contemporary Arts Association of Houston, 1957; The American Federation of
1954, 1968; Margaret
Museum
New
Arts,
New
Museum Museum
of Fine Arts,
of Art, Los
George Rickey was born in South Bend, Indiona, in 1907. He studied at Balllol College of University of Oxford, England, 1926-29, where he received a B.A. degree, and later an M.A. degree in 1941. He also studied at the Ruskin School of Drawing and of Fine Art, Oxford, England, 1928-29; Academic Andre Lhote and Academic
Moderne,
1947;
Paris, 1929-30;
Museum
St.
of
Modern
Art,
New
York, 1959;
Museum
of
Museum,
Amsterdam, 1960, 1965; Holyoke Community College, Massachusetts, I960; Louisiana Museum, Humblebcek, Denmark, I960; Smith College, Northampton, Massachusetts,
1960;
I960;
New
School for
New
Social Research,
New
and
at the Institute of
Design of
He was
the recipient of a
Simon Guggenheim Memorial Foundation Fellowship, 1960 and 1961. Mr. Rickey has taught at the Groton School, Massachusetts, 1930-33; Kalamazoo College, Michigan, 1939-40; Muhlenberg College, Allentown, Pennsylvania, 1941, 1946-48; University of Washington, Seattle, 1948; Indiana
University, Bloomington, 1949-55; Tulane University,
Wiesbaden, Germany, 1962; Botterseo Pork, London, 1963; The Kalamazoo Institute of Arts, Michigan, 1964; in Kossel, Germany, 1964, 1968; at Howard Wise Gallery and Staempfli Gallery, New York, 1964; Gemeentemusea, Amsterdam, 1965; Staatliche Kunstholle, Baden-Baden, Germany, 1965; University of California, Berkeley, 1965; Hous der Kunst, Berlin, 1965; Kunstholle, Bern, Germany, 1965; Palais des Beaux Arls, Brussels, 1965;
Albright-Knox Art Gallery, Buffalo, 1965; The Arts
New
Club of Chicago, 1965; Kunstverein, DiJsseldorf, Germany, 1965; Galerle Denise Rene, and Mus3e Notional Rodin, Paris,
1965; The Missouri Botanical Gardens,
Tel
St.
and
at
Louis, 1965;
residence at Olivet
Museum
of Art, 1966;
R.
The Detroit
The Solomon
Michigan.
He
lives in East
Guggenheim Museum, New York, 1967 68; The Cleveland Museum of Art, 1968; National Collection of Fine Arts,
Smithsonian Institution, Washington, D.C., 1968.
AAr.
Rickey's
work
is
in
Coz-Delbo Gallery,
New
Museum,
Artists,
Museum, Pennsylvania; Addison Gallery of American Art, Andover, Massachusetts; Atlanta Museum; The Baltimore
Museum
of Art, Indianapolis,
Museum
Dallas
1953; The
New York, 1955, 1959, 1961; Isaac Delgado Museum of Art, New Orleans, 1956; Amerika Haus, Hamburg, 1957; Orleans Gallery, New Orleans, 1960;
Kraushaar Galleries,
Santa Barbara
of
Museum
Oklahoma, Norman,
Germany, 1962; Kunstverein, Hamburg, Germany, 1962; Primus-Stuort Galleries, Los Angeles, 1962; Phoenix Art Museum, 1962; Hyde Park Art
Kunstverein, DiJsseldorf,
New
Plt'sfield,
New
York, 1963;
and Mrs. Edward S. Marcus, Dallas; Westland Center, Detroit; Hamburger Kunstholle, Hamburg, Germany; Dartmouth College, Hanover, New Hampshire; Mr. Robert Strauss, Houston; Kansas City Art Institute and School of Design, Missouri; Dr. and Mrs. Leonard Asher, Los Angeles; Boll State University, Muncie, Indiana; The Montclair Art Museum, New Jersey; Mr. Laurence S. Rockefeller, Union Carbide Corporation, New York; Lytton Savings and Loon Association, Oakland, California; Rljksmuseum Kroller-Muller, Otterlo, The Netherlands; Joseph H. Hirshhorn Collection, Washington, D.C.
of Fine Arts, Mr.
Museum
132
ISA!
WEN YING
-8, 1968.
Wise Gallery,
New
York.
in
Wen
in
League of
York,
New
York, 1953-57.
New
New
York.
New
Sherman Gallery, New York, 1961; Amel Gallery, York, 1964, 1965; Howard Wise Gallery, New
group exhibitions
at
York, 1968.
In
Albany
Institute of History
ond
Art,
New
York, 1965;
Art, 1965;
New
Museum Museum
Museum, 1965;
Washington,
Institute of
Contemporary
Art,
The Akron
of Glass,
Museum
New
Museum, New
Museum
of Art, 1967;
Museum
of
St.
Contemporary
Art,
Thomas,
Museum
of Art, 1968-69.
"7rru -7-
WYBTH
I )33
ANDREW WYETH,
225/4 X
Water color, and Mrs. Joseph E. Levine, New York. M. Knoedler & Co., Inc. and Coe Kerr Gollery,
28
'4.
in
group exhibitions
Lent by Mr.
The Pennsylvania
Academy
New
York.
Andrew Wyeth was born in Chadds 1917. He studied with his father, N.
illustrator.
In
1943; Whitney
Museum
of
Medal
of
C. Wyeth, artist and was the recipient of the Presidential Freedom. Mr. Wyeth lives in Chadds Ford,
1963, he
1948, 1951, 1952, 1953, 1956, 1957, 1959, 1963, 1964; Museum of Art, Cornegie Institute, Pittsburgh, 1946, 1947, 1948, 1949, 1950, 1952, 1955, 1958, 1961, 1964; University of Illinois,
Pennsylvania.
Mr.
of Art
Co., Inc.,
New
York, 1958;
in
New
Gallery, Fredericton,
Moscow, 1959; at the Beoverbrook Art Conoda, 1963; Tote Gallery, London,
1963; City Art Museum of St. Louis, 1964; William Penn Memorial Museum, Horrisburg, Pennsylvania, 1965.
His work is represented in the public collections of the Addison Gallery of American Art, Andover, Massachusetts;
New
Art
Hampshire,
1951;
M. Knoedler &
Co., Inc.,
New
Young Memorial
Museum, Son
Museum
of Art,
California, 1956; Delaware Art Center, Wilmington, 1957; Massachusetts Institute of Technology, Cambridge, 1960; Albright-Knox Art Gallery, Buffalo, 1962; Harvard
University,
Museum of Fine Arts, Boston; The Art Institute of Chicago; Dallas Museum of Fine Arts; Wadsworth Atheneum, Hartford, Connecticut; The Museum of Fine Arts, Houston;
The Currier Gollery of
Montcloir Art Museum,
Art,
Manchester,
Jersey;
New
Hampshire; The
New
Art,
New
Museum
of Art,
Morgan
Library,
New
New
The Baltimore Museum of Art, 1966; The Art of Chicago, 1966-67; Whitney Museum of American
York, 1966; The Pennsylvania
Museum
of Art;
New
Academy
Porrish Art
of the
and Art Museum, Rockland, Maine; California Palace of the Legion of Honor, Son Francisco; Munson-Willioms-Proctor
Institute, Utico,
and The
New
York, 1966.
Wilmington.
734 /
TRikBER
RiCHARD TREIBER, Swick, 1967. Masonite, plywood and automobile lacquer, 120 x 156 x 28. Gilman Galleries,
Chicago.
of Wisconsin,
of
lives in
have never accomplished everything pursued In a work nor fully understood what it is am striving for. From
"I
I
Edgewood
College,
my
next attempt.
My
My
1940.
in
Appleton, Wisconsin,
in
He studied at the University of Illinois, Urbono-Chompaign, where he received a B.A. degree in 1965; and at the University of Wisconsin, Madison, where he received an
M.F.A. degree
in
work has been included in group exhibitions at the Madison Art Center, Wisconsin, 1966, 1967; Wisconsin Salon of Art, Madison, 1966; University of Wisconsin, Madison, 1967; Wisconsin Painters and Sculptors, Inc., Milwaukee, 1967; and in Woupun,
Madison, Wisconsin, 1967.
His
Wisconsin, 1967.
His
work
is
in
Madison
Art Center,
1967.
'^
BLACK
/ 135
DAVID
E.
1928.
He studied
at
Wesleyan
University, Middletown,
in
84.
"Somewhere
in
and dialogue
is
is
the
in
Skowhegan School of Painting ond Sculpture, Moine, 1949; and at Indiana University, Bloomington,
1950; at
in 1954.
Building sculpture
I
an
intellectual-
doubt
this
more
like
gold panning.
"My
and
give o
and Sculpture, Maine, 1949; a Fulbright Italy, 1962; and on award from the Notional Council on the Arts, Washington, D.C., 1966. He has taught at the Putney School, Vermont, 1950; and since 1954 has been teochtng ot Ohio State University, Columbus.
Fellowship to
Mr. Block lives
in
night-space.
seems
to
is
Columbus, Ohio.
lush sensuality
best tied to
Colored
I
light sensation
alone
to
come
lighting,
as well as in darkness.
gloss cloth
is
a risky,
Is
Ohio State University, Columbus, 1962, 1963, Columbus Gallery of Fine Arts, Ohio, 1967; The Contemporaries, New York, 1967; and New York State
1962, 1965;
1964; The
The use
make
It.
of repeated forms
me
in
group exhibitions
at
The ribbed
serial'
order
take
home-brew
I
and
the
New
His
could
the color
light.
and
inscribe the
yellow"
David
E.
in
Gloucester, Massachusetts,
in
work is in the collections of the Addison Gallery of American Art, Andover, Massachusetts; Indiana University, Bloomington; Gibbes Art Gallery, Charleston, South Carolina; The Columbus Gallery of Fine Arts, Ohio State University, Columbus; Dayton Art Institute; Wesleyan Universify, Middletown, Connecticut; and at Butler Institute of American Art, Youngstown, Ohio.
136 I
LeWITT
jOL LeWITT, A 2 5
19 V4 X 32 X 81.
Sol LeWitt
8,
1968.
Baked enamel on
steel,
Dwan
in
Gallery,
New
York.
in
was born
Hartford, Connecticut,
1928.
He
New
York, where he
in
1949.
New
York,
New
York.
New
York, 1965;
Dwon
Gallery,
New
New
York,
Heiner Friedrich
in group exhibitions at Contemporary Crafts of the American Craftsmen's Council, and St. Mark's Church, New York, 1964; Byron Gallery, Inc., Graham Gollery, and World House Galleries, New York, 1965; Institute of Contemporary Art, Boston, 1966; Dwan Gallery, The Jewish Museum, Riverside Museum, and the A. M. Sachs Gallery,
of
New
New
Angeles County Museum of Art, Los Angeles, 1967; Whitney Museum of American Art, New York, 1967, 1968; Philadelphia
Museum of Art, 1967; In Dusseldorf, 1968; at the Haags Gemeentemuseum, The Hague, 1968; in Kassel, Germany, 1968; at the Modern Art Museum, Munich, 1968; Aldrich Museum of Contemporary Art, Rldgefield, Connecticut, 1968.
Mr. LeWitt's work
is
in
New
ALTOON
I 137
JOHN ALTOON,
Ink
Unlithd (Harper
Series),
1966.
x 40.
Angeles, California,
in 1925.
He studied
Angeles County,
Angeles, 1947; Chouinard Art School of the California Angeles, 1950-51. Mr. Altoon was the awards from the Lowe (Joe and Emily) Foundation, Inc., Englewood, New Jersey, 1955, and the William and Noma Copley Foundation, Chicago, 1964. He has taught at the Chouinard Art School of the California
Institute of Arts, Los
recipient of
Angeles,
Museum,
California,
He
lives in Los
Angeles, California.
Santo Barbara
Gallery,
Museum
New
York, 1953;
Gonso
Gallery,
New
York, 1954;
Phoenix, 1965;
Quay
Flschboch Gallery,
New
Museum,
1967.
Museum
of Art,
In
group exhibitions
at
Museum of Art, Carnegie Institute, Pittsburgh, 1959; Whitney Museum of American Art, New York, 1962, 1967; Santo Borboro Museum of Art, California, 1962; David
Stuart Galleries, Los Angeles, 1964, 1965, 1966; The
Solomon
Francisco
R.
Guggenheim Museum, New York, 1964; San Museum of Art, 1964, 1965; University of Texas,
In
Austin, 1966.
His
work
Is
many
public
and private
collections including
Welsman, Beverly Hills; La Jollo Museum of and Mrs. Leonard Asher, Mr. and Mrs.
Art,
Museum of Art, Mr. and Andre Previn, Mr. and Mrs. David Stuart, Mr. and Mrs. Jack Warner, Los Angeles; The Museum of Modern Art, Whitney Museum of American Art, New York; Mr. J. Patrick Lonnon, Palm Beach; The Pasadena Art Museum, Mr. and Mrs. Robert Rowan, Pasadena, California; Son
William Jonss, Los Angeles County
Mrs.
Francisco
Museum
Dr.
and Mrs. Robert Kuhn; Mr. and Mrs. and Mrs. Aaron NIsenson; Mr. and Mrs,
738 /
FAIKNMR
AVERY FALKNER,
Galeria Carl
Von
Spring, Texas,
in 1940.
He
1963;
and
at
The Brooklyn
Museum
Art School,
New
York, J963-64.
He was the
Museum
Mr. Falkner
is
currently a teaching
and
Crafts,
Oakland. He
and a
special
Chobot College, Hayword, California, 1967. His work has been included in group exhibitions at the Dallas Museum of Fine Arts, 1962; The Brooklyn Museum, New York, 1964; San Francisco
at
was held
and
at Galeria Carl
CHASE /?39
RONALD CHASE,
Construction
49
x 12.
Triangle
His work has been included in group exhibitions ot the Mory Horriman Gallery, Institute of Contemporary Art,
Museum
in
Seminole, Oklahoma,
1956.
in
1934.
He
New
York;
E.
B.
Crocker Art
New
York,
Museum
of
where he received a
B.A.
degree
in
Toronto.
is
Colony, Peterborough,
New
Hampshire, 1959,
In
Museum
of
He
lives in
Museum
of Fine Arts;
of
Philadelphia
Art;
Museum of Art; San Francisco Museum The Art Gallery of Toronto; and The Vancouver
Art Gallery.
'
>i^i^
ml ^ PQI Ja
Cj
740
POSEY /Ul
ERNEST POSEY, Ecliptic -160-68, 1968. Acrylic on canvas, 70 x 115. Galerio Carl Van der Voorl, San
Francisco.
Ernest Posey was born In New Orleans, Louisiana, in 1937. He hos studied at the Art Center College of Design, Los Angeles; Tulane University, New Orleans; and The School
of Visual Arts,
He
lives in
New York, where he received a B.A. degree. Son Anselmo, California, New
Orleans; and the Henri
His
included
in
group exhibitions
of Art,
at the
Delgodo Museum
New
Orleans; Alonzo
and
New
is
Von der
Voort, San
Art, 1968.
Francisco;
His
and
work
represented
Arts,
742 /
PEARL5TEIN
a^
PHlLfP PEARISTEIN, The Arthl'i Daughters, 1967. Oil on canvas, 60 x 72. Allan Frumkin Gallery, Inc., New York. (1965, 1967)
"For the post seven years
I
degree.
to Italy.
In
New
New New
presently
in
is
New
York.
exploring the problems of pointing perceptually rather than conceptuolly: to point only that which meets my eye,
as un-preconceived a manner nothing for the soke of expressivity, 'correct' anotomicol proportions or style. On principle work on my paintings
in
He
lives in
New
York,
York.
os possible:
to distort
at the
Special exhibitions of Mr. Peorlstein's work hove been held Tonoger Gollery, New York, 1955; Peridot Gallery,
only
hove tried to in the presence of the live model. recover for myself, out of the wreckage of o hundred years of distortion of the realist artist's vision by a mistaken
I
New York, 1956, 1957, 1959; Allan Frumkin Gallery, Inc., New York, 1963, 1964, 1966; Allan Frumkin Gallery, Inc., Chicogo, 1965; Ceeje Gollery, Los Angeles, 1965; Reed College,
Portland, Oregon, 1965;
1965;
His
Museum
of Art,
Cornegie
challenge from and usage of photography, conventionolized academicism and subservience to abstract modes, a means of painting representotions. I've chosen to concentrate on
availoble whose relationships ore constantly a more recent oreo me. The human head on forms not psychological paint
in flux
is
the
humon
complex
of forms
to
of study.
work has been included in group exhibitions at the Museum of Art, Carnegie Institute, Pittsburgh, 1955, 1964; Nebraska Art Association, Lincoln, 1956, 1957, 1958; Whitney Museum of Americon Art, New York, 1956, 1958, 1962, 1965; The Art Institute of Chicago, 1959, 1962, 1964; University of Colorado, Boulder, 1962; Son Francisco Museum
of Art, 1963; Krannert Art
light
interpretations.
My
The
concern while
sitter's
work
is
personality
may
I
Museum, University of Illinois, Champaign, 1965, 1967; University of Texas, Austin, 1966;
Vassor College, Poughkeepsie,
Mr. Peorlstein's work
Art
is
New
York, 1968.
forms of
am
Allentown
cannot modify any port of my procedure to may arrive ot a more pleasing presentotion, though
personality.
I
sometimes
offer
my apologies.
"
wos born in Pittsburgh, Pennsylvonio, in 1924. He studied ot the Carnegie Institute of Technology, Pittsburgh, Pennsylvania, where he received o B.F.A. degree, and at New York University where he received on M.A.
Philip Peorlstein
New New
Brown Baker, Mr. Edgar Kaufman, Jr., Museum of American Art, York; Reed College, Portland, Oregon; Syracuse University, New York; Joseph H. Hirshhorn Collection, Washington, D.C.
York University, Whitney
6 73H,T3
ORTMAN /U3
07?fo
GEORGE ORTMAN, Cannon,
1968. Aluminum construction, 72 diameter. Howard Wise Gallery, New York. (1965)
Francisco
Museum
New
George Ortman was born in Oakland, California, in 1926. He studied at the California College of Arts ond Crafts, Oakland; University of California, Berkeley,
1947-48; Stanley William Hayter's Atelier
17, Paris,
York, 1953, 1954, 1955, 1956, 1959, 1960, 1961; Leo Costelli Gollery, New York, 1957, 1959; Martha Jackson Gallery, New
York, I960; Golerie Claude Bernard, Paris, I960; The Art Institute of Chicago, 1961, 1962; Whitney Museum of
1949;
American
Art,
New
Worlds
Acodemie Andre
and The Hans Hofmann School of Fine Arts, New York, 1950-51. He was the recipient of a John Simon Guggenheim Memorial Foundotion Fellowship; and a grant from the Tomarlnd Lithogrophy Workshop, Los Angeles, 1966. Mr. Ortman has taught at
Lhote, Paris, 1950;
Fair, Seattle,
Germany, 1963; Contemporary Arts Association of Houston, 1963; The American Federation of Arts, The Museum of Modern
Art,
New
York, 1957-65;
Artist in
New
He
York
Residence
lives in
New
Princeton,
New
Jersey.
Museum, The Betty Parsons Gallery, New York, 1963; The Washington Gallery of Modern Art, Washington, D.C., 1963; Cordier & Ekstrom, Inc., New York, 1964; Brondeis University, Wolthom, Massachusetts, 1964; Kronnert Art Museum, University of Illinois, Champaign, 1965; Finch College, New York, 1965; In Tokyo,
1965; at the Des Moines Art Center, Iowa, 1966;
of Art, of
New
New
New New
New
York, 1957,
Carnegie Contemporary
Museum Museum
Howard Wise
Gallery,
New
in
Walker
University of Massachusetts, Amherst; Albright-Knox Art Gallery, Buffalo; American Insurance Company, Des Moines,
Krakow
Museum
Museum, Oregon,
1966; The
Van der
many
exhibitions
DeCordovo and Dona Museum, Lincoln, Massachusetts; Milwaukee Art Center; Walker Art Center, Minneapolis; Manufacturers Hanover Trust Company, The Museum of Modern Art, New York University, Whitney Museum of American Art, New York; James A. Michener Foundation, Pipersville, Pennsylvania; Portland Art Museum, Oregon; New Jersey State Museum, Trenton; and many
private collections.
144
/KAUFMAN
/nj
DONALD KAUFMAN,
canvas, 36 x 78.
Chicago.
(1967)
Acrylic
on
New
York and
in
New
Orleans, Louisiana,
in
He studied
at the University of
Wisconsin, Madison,
where he received a B.S. degree in 1958, and on M.S. degree in 1961. Mr. Kaufman lives in New York, New
York.
New
in
group exhibitions
Museum, Champaign, 1967; The Corcoran Gallery of Art, Washington, D.C., 1967; and Whitney Museum of American Art, New York, 1968.
York, 1964; Krannert Art
University of Illinois,
His
New
work
is
in
H. Hirshhorn Foundation,
of
Modern
Art, Mr.
William Rubin,
New
York; Mr.
J.
Patrick Lonnan,
New
York; and
LAING
c
/l45
Silver Identity, 1967. Painted aluminum and chromed brass, 29 x 113 x 12. Richard Feigen Gallery, New York and Chicago. (1967)
GERALD LAING,
Contemporary
Art,
Arts,
Gerald Laing was born in Newcastle-upon-Tyne, England, in 1936. He attended the Royal Military Academy,
Sandhurst, EngloncJ, 1954-56; and Saint Martin's School of
York, 1964; Museum of Contemporary Nogaoko, Japan, 1965; San Francisco Museum of Art, 1965; Stedelijk Museum, Amsterdam, 1966; Richard Feigen Gallery, Chicago, 1966, 1968; Ohio State University,
New
London, 1960*64. He was artist-in residence of the Aspen Institute for Humanistic Studies, Colorado, 1966. He
Art,
lives in
Columbus, 1966; New York State University College at New Poltz, 1966; The American Federation of Arts, Finch College,
The Jewish Museum,
Aldrich
New
York University,
New
York, 1966;
New
York,
New
York.
Museum
of
Contemporary
Art, Ridgefreld,
of Illinois,
Palmer Gallery, Los Angeles, 1964; Richard Feigen Gallery, New York, 1964, 1965, 1967, 1968; Richard Feigen Gallery,
Chicago, 1965, 1966; Kornblee Gallery,
Mr. Laing's work has been included
in
Museum, University Champaign, 1967; Golerie Stodler, Paris, 1967; in Son Marino, Italy, 1967; at the Museu de Arte Moderna de Sao Paulo, Brazil, 1967; and at Macy's, New York, 1968.
Connecticut, 1966, 1968; Kronnert Art
New
York, 1966.
group exhibitions
1964;
lo Ville
de
Paris, 1963;
Pace Gallery, Boston, 1964; Albright-Knox Art Gallery, Buffalo, 1964; Arts Council of Great Britain, and Institute of
is in the 180 Beacon Collection of Contemporary Art, Boston; and in the collections of the Victoria and Albert Museum, London; Museum of Contemporary Art, Nogooka, Japan; Whitney Museum of American Art, New York; Aldrich Museum of Contemporary Art, Ridgefield, Connecticut; and Brondeis University, Wolthom, Massachusetts.
146 I
BENTON
FLETCHER BENTON, Rolling Ball, R-666, 1968. Plexiglas, aluminum and formica, 58 V2 x 56 x 10. Esther-Robles Gallery, Los Angeles and Galeria Bonino,
Ltd.,
Museum
San Francisco
Museum
of Art, 1964,
1966; La Jolla
Museum
New
York.
(1967)
New
at
was born in Jackson, Ohio, in 1931. He studied at Miami University, Oxford, Ohio. He has taught the California College of Arts and Crafts, Oakland; San Francisco Art Institute; and San Jose State College,
Fletcher Benton
California.
Walker
Whitney
Los
Museum
Museum,
American
Art,
New
University of Illinois,
Champaign, 1967;
Angeles County Museum of Art, Los Angeles, 1967; Museum of Art, Carnegie Institute, Pittsburgh, 1967; Museum of
Contemporary Contemporary
Art,
Museum
of
Gump's
in
and Mrs.
Museum
of Art, 1965;
Mr.
Sonoma
New
in
group exhibitions
Murchison.
-:u -7-^
BAkNET
/ 147
Porirait of
x 32.
at the
New
Schaefer Gallery,
of
New
"My
interest has
convictions that
Contemporary
becomes
in its
in this
Mr. Bornet's work has been included in group exhibitions The Pennsylvania Academy of the Fine Arts, Philadelphia,
1967; Kent State University, Ohio, 1968; United Nations,
at
New
wos born in Beverly, Massochusetts, in 1911. He studied at The School of the Museum of Fine Arts, Boston, 1928-31; and at the Art Students League of New York, 1936-61. He has been teaching at the Art Students League of New York since 1936, and at The Cooper Union School of Art and Architecture, New York, since 1945.
Will Bornet
He
lives in
New
York,
New
York.
The Metropolitan Museum of Art, The Museum of Modern Art, Whitney Museum of American Art, New York; The
Pennsylvania
Academy
148 I
fMitAAN
JOHN FREEMAN,
Acrylic lacquer
Gallery,
New
York.
in Walla Walla, Washington, in He has studiecJ at Washington State University, Pullman, where he received a B.A. degree in 1949, and 0T\ M.F.A. degree in 1950; and at Pratt Institute, New York, 1950-51. Mr. Freeman was the recipient of a grant from Ohio State University, Columbus. Presently he teaches at Ohio State University, and lives in Columbus, Ohio.
Akron Art Institute, Ohio; The Columbus Gallery of Fine Arts, Ohio State University, Columbus; Denison University, Granville, Ohio; Royal Marks Gallery, Ruth White Gallery,
New
in
many group
of Art
exhibitions.
is in the collections of the Columbia and Science, South Carolina; The Columbus
Museum
in
numerous
HUDSON
149
ROBERT HUDSON,
Ptotractor, 1968.
Inc.,
Steel,
48
48
144.
Chicago.
in Salt
in
1938.
Son Francisco Art Institute where he received a B.F.A. and an M.F.A. degree. He taught at the University of California, Berkeley, 1967-68. Mr. Hudson
He studied
at the
lives in Stinson
Beoch, Colifornia.
New
York, 1967;
Inc.,
Wilder Gallery, Los Angeles, 1968. Mr. Hudson's work has been included in group exhibitions at the San Francisco Museum of Art, 1962; Allan Frumkin Gallery, Inc., Chicago, 1964; The Art Institute of Chicogo, 1967, 1968; Los Angeles
County Museum
His
work is in the collections of Mr. Walter Netsch, Mr. Arnold Root, Mr. James Speyer, Chicogo; and the Los Angeles County Museum of Art, Los Angeles.
150
STEPHENSON
/ 151
JOHN STEPHENSON,
lacquer, 15 x
Bogorf, 1968.
Aluminum and
acrylic
30
240.
New
York.
Indianapolis, Indiana,
He studied
at
University,
Columbus, where he received a B.F.A. degree in 1964 and on M.A. degree in 1965. Mr. Stephenson has received scholarships from Indiana University, 1951, 1955, and Ohio
State University, 1963, 1964.
Whitewater, 1965-67. Since 1967 he has been teaching at the University of Georgia and lives in Athens, Georgia.
Mr. Stephenson has received
special
1967.
work has been included in group exhibitions in Columbus, Ohio, 1964, 1965; Otterbein College, Westerville, Ohio, 1964; Butler Institute of American Art, Youngstown, Ohio, 1964; The Columbus Gallery of Fine Arts and Ohio State Fair, Columbus, 1965; Dayton Art Institute, 1965; Art Association of Indianapolis, 1965; Wisconsin Salon of Art, Madison, 1965; Milwaukee Art Center, 1966, 1967; Wisconsin State Fair, Milwaukee, 1966; Walker Art Center, Minneapolis, 1966; Burpee Gallery of Art, Rockford, Illinois, 1966; and Beloit College,
Wisconsin, 1967.
Mr. Stephenson's work
is
in
152 I
SPnATT
FRED SPRATT, Allegheny, 1967. Paint on 77 X 51 X 51/4. The Hansen Gallery, San
Fred Spratt was born
in
fiber glass,
Museum
of Art, 1967.
His
in
group
Francisco.
Museum, Omaha,
Cedar Rapids, Iowa, in 1927. He studied at Iowa Wesleyan College, Mount Pleasant, where he received a B.A. degree in 1951; and at The University of Iowa, Iowa City, where he received an M.A. degree in
1956.
Museum,
California, 1961;
E. B.
City, 1954-56.
Department of
He
lives in
Saratoga, California.
Mexlcano Norteamericano de Relaciones Mexico City, 1961; and at the San Francisco
work is In the collections of the Instituto Mexlcano Norteamericano de Relaciones Culturoles, Mexico City; California State Fair & Exposition Art Show, Sacramento; San Jose City College, California; University of Santo
His
Clara, California.
((^J^^^^-;
GOOCH
I 153
GERALD GOOCH,
26 V3
(1967)
X 15 X 141/2.
Big
///,
1968.
Lithograph on
lights,
and multiple
in Mannington, West Virginia, in He studied at the California College of Arts ond Crafts, Oakland, 1962-66, where he received a B.F.A. degree with distinction; and at San Jose State College, California, 1968, where he received on M.A. degree. Mr. Gooch has taught at California Stole College at Hoyward, 1966; Diablo Valley College, Concord, California, 1968; and since 1965, at the Son Francisco Art Institute. He lives in Oakland, California.
Graphic
Arts,
The Pasadena Art Museum, California, 1964; Richmond Art Center, California, 1966; E. B. Crocker Art Gallery, Sacramento, California, 1966; Son Francisco Art Institute, Son Francisco Museum
LJniversity of Illinois,
Museum,
Champaign, 1967;
Tokyo, 1967;
in
Museum of Modern Art, and Oakland Art Museum, California; The Pasadena Art Museum, California; California Palace of the Legion of Honor, and Mr. John Carmock, Son
Hillsborough, California; The
Inc.,
New
York;
Francisco.
154 I
DAPHNIS
'O
NASSOS DAPHNIS,
96 X 96.
9-68, 1968.
Lent by Aldrich
Museum
in
Washington,
Ridgefield, Connecticut.
New
York.
The Corcoran Gallery of Art, The Columbus Gallery of Osaka, Japan, I960; at the
Masses Daphnis wos born He has taught at the Horace Mann School, Riverdale,
Walker
R.
in 1914.
Solomon
Guggenheim Museum,
Lever House,
New
York, 1961;
New New
at
York, 1953-58.
World's
New
York.
Contemporary
Arts, Inc.,
New
Art, Charlotte,
Musee Cantonal des Beaux-Arts, Lausanne, Switzerland, 1963; South County Bank, St. Louis, 1963; The Washington Gollery of Modern Art, District of Columbia, 1963; Washington Square Galleries, New York, 1964; DeCordovo and Dana Museum, Lincoln, Massachusetts, 1965; Leo
Costelli Gallery,
New
is
York, 1967.
in
New
Clert, Paris,
Museum Museum
in
group exhibitions
The Union Carbide Corporation, Whitney Museum of American Art, New York; Rhode
of
Modern
Art,
Museum
of Art,
Carnegie
of
Museum
Whitney Museum
American
Art,
New
York, 1959,
New
Museum.
DE FOREST
/ 155
ROY DE FOREST, Recollections of a Sword Swof/ower, 1968. Polymer on canvas, 63 '4 x 63 '4. Dilexi Gallery,
San Francisco; and Allan Frumkin Gallery,
Chicago.
(1965)
in
His
in
group exhibitions
at the
Cincinnati Art
Museum,
Museum
of
Inc.,
Nebraska,
in 1930.
He studied at the Yakima Valley Junior College, Yakima, Washington, 1948-50; California School of Fine Arts, Son Francisco, under Edward Corbett, Hassel Smith and David Pork, 1950-52; San Francisco Stole College, under Seymour long and Alexander Nepote, where he received a B.A. degree, 1952-53, and an M.A. degree, 1956-58. He has taught at Yakima Valley Junior College, Yakima, Washington; Contra Costa College, Son Pablo, California; Boyview High School at San Ouentin Prison, San Francisco; Son Francisco Sfote College; California College of Arts and Crafts, Oakland; and he is presently teaching at the
University of California, Davis.
New
Arls,
New
York, 1959-61;
Washington State
Jackson Gallery,
Martha
New
Whitney Museum
of American Art, New York, 1962; The Pasodeno Art Museum, Colifornio, 1962; Stonford
Mr.
De
and
special
Inc.,
Illinois,
West Gallery, San Francisco, 1955, 1958; Stone Court Gallery, Yakima, Washington, 1959, I960; Dilexi Gallery, San Francisco, 1960, 1961, 1962, 1963; Dilexi Gallery, Los Angeles, 1962; Son Francisco Art Association, 1962;
Allan Frumkin Gallery,
Inc.,
Institute of
Chicago,
Mr.
De Foresfs work
Is
represented
New
Museum,
many
756 I
KRUEGER
JACK KRUEGER,
finish,
Atoll,
1968.
96
X 348.
New
York.
in 1941.
Appleton, Wisconsin,
Temple University,
Philadelphia, 1968.
He
lives in
New
York,
New
York.
work was held at the Leo Castelli Gallery, New York, in 1968. His work has been included in group exhibitions at the Bank of
special exhibition of Mr. Krueger's
Wisconsin, Milwaukee, 1962; Allan Stone Galleries, New York, 1964; Castellone Gallery, Provincetown, Massachusetts,
1964;
New
New
Moore College
of Art, Philadelphia,
Louis, 1969.
^::u
-^^.
MOORE
/ 157
Acrylic
in
Plastic
is
x 61.
of civilization
was always so very out front with what was never so very behind.' (anonymous, twentieth-century American folk
saying)
primacy
in
(William
Watson,
letter
draw upon a
in
be enough going on from around here to relaying field activity,- the mind, emptied, moving and conversing among its selves, continues the workings of the art unconsciously beneath the ceaseless
"There seems
to
allow a neutral
field for
lodged
both
final
flow of
"I
its
internal dramatizations.
on
am
currently living in
in
New
my work
and and
resulted In Horace
ilk
programmed environments) and hope to continue. As Mr. Watson said in a previous letter, hope you are provided with the means to point and ore eating well;' painting is my most expensive habit."
{researchers
'I
may be
of interest.
of the feedback, in this case
in Los
Angeles, California,
in
and
He has studied at Stanford University, California, 1960-64; and at Yale University, New Haven, Connecticut, 1964-65. He lives in New Hoven, Connecticut.
Mr. Moore's work has been included
at
in
group exhibitions
young bodies, Moore exists pursued by Chinese Communist Army, and composes series of letters to army explaining his unavailability to serve due to prior involvement in construction of war memorial.' (Professor Pulsa, "A Short History of Michael Moore in
destructive consumption of
work
is
in
New
Haven,
Connecticut, Port
2.
II,"
Anonymous
paleontologist of plastic.
wandered ever
758 I
MATISSE
PAUL MATISSE, lavender KaUiroscope, 1968. Crystals suspended in Perchlorethylene on stainless steel frame, 32x32x1 V2 Howard Wise Gallery, New York.
.
Paul Matisse
was born
in
New
York,
New
York,
in 1933.
He
where he received an A.B. degree in 1954; and at the Harvard Graduate School of Design, Combridge, 1954-57. Mr. Matisse lives in Cambridge, Massachusetts.
Mr. Matisse's work has been included
at the Institute of
In group exhibitions Contemporary Art, Boston, 1965; Cordier & Ekstrom, Inc., The Museum of Modern Art, New York, 1966; Council on the Arts and Humanities, Boston, 1967; Howard Wise Gallery, New York, 1967-68; and the Milwaukee Art
Center, 1968.
PRENTISS
I 159
ii'in
CHUCK
PRENTISS,
Number
Dielectric
steel,
and
lights, 12 'A x 16 x 8.
in
He
Camino College, Los Angeles; and Angeles Valley College, Van Nuys, California.
at Los
in 1968.
been included
in
group exhibitions
College of los Angeles, 1967; California State College at Fullerton, 1968; Municipal Art Gallery, Los Angeles, 1968;
Portland Art
Museum, Oregon,
1968;
E.
B.
Crocker Art
Young Memorial Museum, San Francisco, 1968; University of California, Los Angeles, 1969; and by The Fine Arts Patrons of Newport Harbor, Balboa, California.
Mr. Prentiss' work
is
in
Freeman, Miss Jacquelyn M. Shloes, Mr. end Mrs. Frederick Weisman, Beverly Hills; Mr. Leo Guthman, Chicago; Mr. and Mrs. James Funkhouser, Kansas; Miss Anne Stevenson,
Los Angeles; Mr.
Mr.
and Mrs. Waller Nelson Pharr, New York; and Mrs. Jerome Westheimer, Oklahoma; and Mr.
760
SMYTH
/l6?
Creation, 1968.
Enamel on
Inc.,
96.
Chicago.
David Smyth was born in Washington, D.C., in 1943. He has studied at The Corcoran School of Art, Washington,
D.C., 1962-64;
Skowhegan School
of Painting
and Sculpture,
Maine, summer, 1964; and The School of The Art Institute of Chicago, 1964-69, where he received a B.F.A. degree and on
M.F.A. degree.
D.
In 1967, he was the recipient of a George Brown Traveling Fellowship. Mr. Smyth has taught at The School of The Art Institute of Chicago, 1966 68; Urban Opportunity Program, Chicago, 1967; and Chicago Academy
He
lives in
Chicago,
Illinois.
at the
Chicago,
been included in group exhibitions at University, Washington, D.C., 1965; The Art
Hyde Pork
is
in
Jr.
162 /
KASTEN
Capitoline, 1968.
Acrylic on canvas,
Oakland
Art
Museum,
of Art, 1939,
Museum
"Space as a psychological-aesthetic force has always have been concerneci with intrigued me. In recent work
I
of Art,
walls
in
New
York, 1950;
Whitney Museum
American
Art,
New
space.
I
and architecture
Mediterranean area."
in
was born
Art
Museum,
He studied at the University of California, Berkeley, where he received an M.A. degree in 1939; at The Unlversily of Iowa, Iowa City, 1949; and at The Hans Hofmann School
of Fine Arts, Provincetown, Massachusetts, 1952.
Museum
Illinois,
Angeles County
Fair, 1956;
Mr.
San Francisco, 1941; University of Michigan, Ann Arbor, 1946-47; San Francisco State College, 1947-50; and since
1950, at the University of California, Berkeley.
in
Urbana-Champaign, 1956; Library of Congress, Washington, D.C., 1956; Pomona College, Cloremont, California, 1957; M. H, de Young Memorial Museum, Son Froncisco, 1958; Vancouver City Museum, Conodo, 1958; The Posadena Arl Museum,
1956; University of
California, 1960, 1961; California Palace of the Legion of
He
lives
Berkeley, California.
Mr. Kasten has received numerous awards, and special exhibitions of his work have been held ot the University of
Museum
Michigan, Ann Arbor, 1946; Sacramento State College, California, 1956; California Palace of the legion of Honor,
1962; Bon
Marche Gallery,
Moore College
of Art,
et
His
work
is
in
Gallery,
New
Oakland
Art
Museum,
llhaca College,
New
Museum,
St.
Mary's College
Mary's
London; Los Angeles County Museum of Art, Los Angeles; The Museum of Modern Art, The New York Public Library;
Mills College,
Oakland
Art
Museum, Oakland,
California;
Richmond Art Center, California, 1968; Bolles Gallery, Son Francisco, 1968; and ot Catholic University of America, Washington, D.C., 1968.
1963, 1965;
Museum
of Art,
San
In
group exhibitions
Arts,
New
York,
Washington, D.C.
KAWASHIMA
/ 163
KAWASHIMA, "New
Acrylic on canvas,
55
Waddell Gallery,
New
York.
Kawashlma (Takeshi) was born in Takomatsu, Japan, in 1930. He studied at Musashlno Art University, Tokyo, 1953-55. He has taught at the Yoyogi Art School, Tokyo, 1955-58. He lives in New York, New York.
Speciol exhibitions of Mr. Kowashima's work have been
held at Muramatsu Gallery, Tokyo, annually since 1958; and the Waddell Gollery, New York, 1967. His work has been included in group exhibitions ot Yomiuri Independents, Tokyo, 1958-63; The Museum of Modern Art, New York, 1966; and at the Aldrlch Museum of Contemporary Art,
Ridgefield, Connecticut, 1967.
is in the collections of the Chase Manhattan Bank, The Museum of Modern Art, New York; Aldrich Museum of Contemporary Art, Ridgefield, Connecticut; Agricultural Hall, Takomatsu, Japan; National Museum of Modern Art and Tokyo Notional Museum, Tokyo.
ff
164
/PERfZ
2,
bonded
to
holtow-core door, 48 x 81 x
o person sees
to
my work from 40
move him up
it
a painting."
Vincent Perez was born
in
Jersey City,
New
Jersey.
He
New
California.
special
and
Albany,
New
York, 1962;
Mexico
1967.
City, 1964;
in
group exhibitions
The Art
Institute of
1960;
in Fort
Mexico
at the University of
London Square, Oakland, California, 1966; Oakland Art California, 1966; Richmond Art Center, California, 1966; E. B. Crocker Art Gallery, Sacramento, California, 1966, 1968; Northern California Arts, Inc., Sacramento, 1966; San Francisco Museum of Art, 1966; University of New Mexico, Albuquerque, 1967; University of Colorado,
Museum,
Museum,
1967; in Seattle,
at the Salt
Lake
Art
Tampa Bay
-irl-
HOW4RD
l\65
ROBERT 70 X 35
A.
HOWARD, londscope
XX//, 1966.
Pointed
steel,
State Art
Museum,
X 39.
New
York.
Museum
ol Arts
and
Robert A. Howard was born in Sapulpa, Oklahoma, in 1922. He studied at Phillips University, Enid, Oklahoma; at the University of Tulsa, where he received a B.A. and on
Detgodo Museum
of Art,
New
Orleans,
Ossip Zodkine School of Sculpture, He was the recipient of o grant from the Cooperative
ol the
in
Museum
of
Program
Duke
University,
Durham,
The
North Carolina ond the University of North Carolina, Chopel Hill, in 1965. Mr. Howard teaches at the University of North Corolrno, and
lives in
Academy
and
Chapel
Hill,
North Carolina.
Winston-Solem Gollery of Fine Arts, North Carolina, 1961, 1964; University of North Carolina, Chopel Hill, 1963;
Royal Marks Gollery,
New
Art,
Whitney
Art, Charlotte,
North
Museum
of
American
New
Carolina, 1954;
Durham
De Pauw
New
Museum
Hill,
1960;
New
York, 1965;
DeCordovo
Gallery,
New
York, 1967.
Mr. Howard's work hos been represented in numerous group exhibitions, including those at the Philbrook Art
Center, Tulsa, 1947, 1948, 1954, 1955, 1956; Everson
of Art, Syracuse,
New
Ogunquit, Maine, 1966; Hamilton College, Clinton, York, 1967; and the Los Angeles County Museum of
Museum
New
is
represented
in
New
York, 1952;
Carolina
Museum
of Art, Raleigh.
766
/SIMPSON
DAVID SIMPSON, Spectral flame, 1968. Acrylic on canvas, 120 V4 x 37%. Galerio Carl Van der Voort, San Francisco. (1963)
David Simpson was born
He studied
at the
received a B.F.A.
in Pasadena, California, in 1928. San Francisco Art Institute, where he degree; and at San Francisco State
Presently
He
lives in
Richmond, California.
San Francisco Art Institute, 1958; David Cole Gallery, San Francisco, 1959; San Francisco Museum of Art, 1959,
at the
Barbara Museum of
Gallery,
New
Young
Memorial Museum, San Francisco, 1961; Joachim Gallery, Chicago, 1962; David Stuart Galleries, Los Angeles, 1964, 1966; LJniversity of California, Berkeley, 1965; and at other museums and galleries.
Mr. Simpson's work has
been
in
Museum
Oakland Art Museum, California, 1955, 1956, 1959, I960; M. H. de Young Memorial Museum, Son Francisco, 1957,
1959, I960; California Palace of the Legion of Honor, San
Francisco, 1958, 1960, 1961;
Museum
of Art,
Carnegie
Stanford University,
and
at
Museum of Art, Los Academy of the Fine the Portland Art Museum,
L.
Oregon, 1968.
His
work
is
in
Stendahl,
La Jolla
Museum
New
York;
Mr. Harry
F.
Joseph H.
Rubin,
Abrams, Columbia Broadcasting System, Inc., Hirshhorn Foundation, Mrs. Martha Jackson,
Art, Mr. Lee
New
York;
Topie, Paris;
Oakland Art Museum, California; Mr. M. Mr. and Mrs. George Culler, Mr. Richard
Miller, Philadelphia
Museum
Museum; Mr. and Mrs. Ed Coudero, Portland, Oregon; Mr. J. R. Baxter, Mr. and Mrs. Joseph Branslen, Golden Gateway Center, Miss Sally Hellyer, Mr. Robert Howard, Mr. John Humphrey, Mr. Teslg Jacobs, Mr. and Mrs. F. V. Kessling, Mr. and Mrs. Joseph Kransten, Mr. and Mrs. Joseph
Art
Museum
Museum;
PINKERTON
/l67
Hero, 1968.
Acrylic
lives in
Richmond, California.
60
60.
(1967)
"In 1963
I
show
at the
M.
H.
de Young Museum:
"I
the relationship of
man
to himself, his
It
of Art,
tike to
group exhibitions
been collecting America's litter, packaging it, and selling it back to her (os sculpture) at a slight profit the American way!"
"I've also
of
Modern
Art,
New
Institute, Pittsburgh;
The Museum Museum of Art, Carnegie The Virginia Museum of Fine Arls,
York;
in
He studied
at the University of
New
Mexico,
Richmond; Kronnert Art Museum, University of Illinois, Champaign, 1967; Phoenix Art Museum, 1967; Museum of Contemporary Art, Chicago, 1968; E. B. Crocker Art Gallery,
Sacramento, California, 1968; Tampa Boy Art Center,
Florida, 1968.
Albuquerque; and
Crofts,
and Oakland, where he received a B.F.A. degree in 1952, and an M.F.A. degree in 1963. Mr. Pinkerton was
at the California College of Arts
at the
He has taught
work is in the collections of Mr. and Mrs. Dennis Hopper, Los Angeles; Mrs. Charlotte Mock, M. H. de Young Memorial Museum, San Francisco; and Mr. and Mrs. Gifford Phillips, Santa Monica, California.
His
168 /
SmiNI
uOBERT LOUIS STRINI, Untitled, 1968. Plexiglas, clay, leather and lacquer, 20 x 24 x 12. Lent by Mr. and Mrs.
Jack Schafer, San Francisco. The Arleigh Gallery,
San Francisco.
Robert Louis Strini was born
1942.
in
in
San Jose State College, California, where he received o B.A. degree in 1966, and an M.A. degree in 1968. Mr. Strini currently is teaching at San Jose City College and San Jose State College. He lives
at
He studied
in
Francisco,
work has been held at The Arleigh Gallery, San in 1968. His work has been included in group
75^73
c
RAYMOND SIEMANOWSKI,
Acrylic on canvas,
SIEMANOWSKI
/ 169
67
72.
Chicago.
in
Chicago,
Illinois, in
He studied at The School of The Art Institute of Chicago, 1962; and at the Art Students League of New York, 1962. Mr. Siemonowski was the recipient of a traveling fellowship from The Art Institute of Chicago in 1962. He lives in New York, New York.
Mr. Siemonowski has received several awards,
Studio, Chicago, 1964;
Inc.,
and
special
and
at the Allan
Frumkin Gallery,
Institute of
New
York, 1968.
in
included
group exhibitions
The Art
Chicago, 1961, 1962, 1963, 1967; Wolker Art Center, Minneapolis, 1965; Allan Frumkin Gallery, Inc., Chicago,
1967;
in
Illinois
Northern
His
Illinois
is in
and
at
work
New
York;
and Mr.
George
Irwin,
Ouincy,
Illinois.
770 /
EDMONDSON
LEONARD EDMONDSON,
1967.
Oil
on canvas, 52^/4
Adele Bednarz
11953, 1955)
"These are a few autobiographical notes on the condition have always been an of art and the nature of artists.
I
artist,
and
The The
his
artist exists in
community and
is
embraced by
temptations,
The independent
Pasadena Art Museum, California, 1953; Santa Barbara of Art, California, 1953, 1966; San Francisco Art Institute, 1956; The Gollery, Denver, 1963; Comoro Gallery, Los Angeles, 1963; Laguno Beach Art Association, California, 1964; Oklahoma City University, 1964; Adele Bednarz Galleries, Los Angeles, 1965, 1968; DeCordova and Dana Museum, Lincoln, Massachusetts, 1967; San Francisco
Museum
threats,
and oppeals
that society
mokes
to
him to
join.
The
Museum
1968.
artist learns to
rejection
and
accept
conformity.
an actor
in
he learns to wear masks of geniality and The artist ploys many roles. Sometimes he is a comic role. He dances and soars and glitters.
flaunts authority
in
group
Los Angeles
of of the
Museum, 1947-48;
County Museum of
Art, Los
Sometimes he
rebel-outcast.
role of
and
Museum
of Art,
Art,
in
symbol,
American
New York, 1952; Whitney Museum of New York, 1952, 1953, 1955, 1956, 1958;
Urbona-Chompaign, 1953, 1955, 1956,
R.
The
artist
is
never central to
in
it.
his society
University of Illinois,
because he sage or
is
never comfortable
suspicious of him
fool.
and he
is
of
it.
He
is
not
Solomon
Museum Museum
New
York,
humble, angry, lonely men ore. Art is a symbolic language designed to express abstract synthetic experiences
graphically.
"I will
compelled
to spin his
Museum
of Art,
Carnegie
of Art, 1955;
Museu de Arte
Richmond,
Moderna de Sao
Art
is
not reality.
Museum
of Fine Arts,
my
New
exhibited
in this collection.
I
My
non-sensuous.
to
order
World
Fair,
Museum of Art, California, 1963, 1965, Queens College, New York, 1964;
Hill,
My
recent
Laguno Beach
They ore non-competitive. The painting. Design for a Monument, is an arrangement of three objects set against the sky and placed on a ground plane. It is a staged scene. The monuments are frontal; the arrangement static. Illusionistic modelling gives the monuments a semblance of volume. The color Is limited to shades of gray. Yet there is more here than meets the eye. The painting rests on the fringes of non-art, touches on surrealism, provokes an ambiguous response."
Leonard Edmondson was born
in 1916.
Museum, New
York, 1968.
Is
in
Montana
Canton,
State University,
Bozemon;
Lawrence University,
New
Museum
He studied
at
1940 and on
M.A. degree
in
1942.
He was the
recipient of a Louis
Comfort Tiffany Foundation Scholarship In 1952 and 1955; a John Simon Guggenheim Memorial Foundation
Fellowship, I960; and a California State College at Los Angeles Foundation Grant in 1965 and 1967. Mr. Edmondson
New York; Western Michigan University, Kalomazoo; Art Council of Pakistan, Karachi; DeCordova and Dona Museum, Lincoln, Massachusetts; Victoria and Albert Museum, London; Los Angeles County Museum of Art, Otis Art Institute of Los Angeles County, University of California, Los Angeles; University of Delaware, Newark; The Brooklyn Museum, The Metropolitan Museum of Art, The New York Public Library, New York; Oakland Art Museum,
College,
California; Olivet College, Michigan; BIbllotheque Nationale,
Paris;
Museum
of Art; The Virginia Museum of Fine Arts, Richmond; State of California, Sacramento; Lindenwood
St.
summers I960, 1964; Pratt Institute, New York, summer 1961; and since 1964 he has taught at California State College at Los Angeles. He lives In Pasadena, California.
Mr.
College,
Museum
of
Museum;
special
o-^d in
many
171
U2
ZAJAC
Museum
of
Museum
Felix
Modern
Whitney Museum
of
American
Art,
New
Museum
of Art, 1959;
Youngstown, Ohio,
in
1929.
He
The Northampton,
studied at Scripps College, Cloremont, California, 1949-53. He was ttie recipient of a California State Sctiolarship in
de Rome, 1954, 1956, 1957; and a John Simon Guggenheim Memorial Foundation Fellowship, 1959-60. Since 1962 he has lived in Rome, Italy.
Painting, 1950; a Prix
special
Landau Gallery,
1951;
American Academy in Rome, 1960; Grace Cathedral, Son Francisco, 1960; Rovinio Festival of Art, Highland Pork, Illinois, 1961; in Birmingham, Michigan, 1962; at the Amon Carter Museum of Western Art, Fort Worth, 1962-63; University of Californio, Los Angeles, 1962-63; The Solomon R. Guggenheim Museum, New York, 1962; Oakland Art Museum, California, 1962-63; Providence Art Club, Rhode Island, 1962; The Virginia Museum of Fine Arts, Richmond,
1962; Gollerio Toninelli, Milan, 1963; M. Knoedler
Inc.,
&
Co.,
Santa Barbara
Museum
New
York, 1963.
is
in
Rome, 1955; John Young Gallery, Honolulu, 1956; Gollerio II Segno, Rome, 1957; Devoroh Sherman Gallery, Chicago, I960, 1963; Roland, Browse, & Delbonco, London, 1960;
The Downtown Gallery,
Savings and Loon Association, Beverly Hills, Colifornia; Nelson Gallery-Atkins Museum, Kansas City, Missouri; University of Nebraska, Lincoln; California Federal Savings
New
Laguno Beach, Colifornia, 1961; Bolles Gallery, San Francisco, 1961; Mills College, Oakland, California, 1963; Gollerio
Poglioni, Rome, 1963; California Polace of the Legion of
and Loon Association, Home Savings and Loon Association, Los Angeles County Museum of Art, Lytton Savings and
Loon Association, University of California, Los Angeles;
Honor, San Froncisco, 1963; Newport Pavilion Gallery, Balboa, Californio, 1965; londou-Alon Gallery, New
York, 1966.
work has been included in group exhibitions at the University of Illinois, Urbana-Chompoign, 1952, 1961, 1965; The Art Institute of Chicago, 1959; Los Angeles County
His
Syracuse University,
ZAKANYCH
/ 173
even
unit so that
when
I
it
X 72.
Stable Gallery,
New
York.
I
began painting
becouse it lends itself to this kind of weightless thing, has no beginning, no end, ond never anchors you. Hopefully the painting should be
it.
chose the
seen slowly ond involve not only your eyes, but your whole
sensitivity."
movement where a single toned area con moke a painting do all kinds of things. Painting is idea, but at
the end
it
!(
in
Elizabeth,
New
Jersey, in
Ideally,
He studied
York.
own
so
Industrial Art,
personal statement.
that
it
New
A
wouldn't get
in
woy
of
my
statement.
And
the
circle,
New
York, 1968.
at the
included
in
group exhibitions
American
Art,
New
and in that sense involved with conceptual or formal art. But whatever the formal ground rules, art, by definition, deals in mystery and illusion. In my want the whole surface to work as a rather flat. painting,
of the surface,
I
Museum
of Art, 1968-69.
in the collections of
New
York.
m^^:tm
174 I
LANDSMAN
STANLEY LANDSMAN, Danfe, 1967. Glass and electric circuitry, 27 x 27 x 14 V2. Leo Castelli Gallery, New York.
Stanley Landsman was born
1930.
in
New
York,
New
York,
in
He studied
He
at the University of
New New
Mexico,
York.
New
York,
New
Iris
Clert,
in
group
New
New
New
York,
Museum, Kansas City, Missouri, 1966, 1967; The Museum of Modern Art, New York, 1967; Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, 1967; Museum of Contemporary
1960, 1961; Nelson Gallery-Atkins
Art,
Museum
of Art, 1968; of
Milwaukee
Art,
Whitney Museum
American
New
York, 1968.
His work is in the collections of Prince Sodruddin Ago Khan, Geneva, Switzerland; Nelson Gallery-Atkins Museum, Kansas City, Missouri; Milwaukee Art Center; Walker Art Center, Minneapolis; Dr. William Cohan, Mr. and Mrs. Gardner Cowles, The Hon. and Mrs. Jacob Jovits, Mr. Roy Lichtenstein, The Museum of Modern Art, Mr. and Mrs. John Powers, Mr. Bert Stern, Whitney Museum of American Art, New York; and the Aldrich Museum of Contemporary
Art, Ridgefield, Connecticut.
BRODERSON
/ 175
A1e/os
and Garcia
Lorco,
The Pasadena
on canvas, 82 V2
x 71 V2
Lent by he Palm
Art
Museum,
Springs Desert
Gallery,
Museum,
York.
Inc.,
California.
The Downtown
New
Art,
Son Francisco,
1961; Scripps
He studied
Jepson Art
at
Western
Art, Fort
Worth, 1962-63;
Institute, Los
Carnegie
De Ederley. Mr. Broderson was the recipient of a scholorshrp from The Pasadena Art Museum. He lives in
Francis
Los Angeles, California.
Museum, University of Illinois, Champaign, 1963, 1965, The Downtown Gallery, New York, 1963, 1964, 1967-68;
World's
Fair,
New
Inc.,
and
special
Longchamps,
His
New
York, 1968;
In
and
others.
work
is
represented
Museum
Museum
of Art, California,
America, Chicago; Honolulu Academy of Arts; The Kalamazoo Institute of Arts, Michigan; Dudley Tooth
Collection, London;
Los
Ankrum Gallery, de Young Memorial Museum, Son Francisco, 1961; The Downtown Gallery, New York, 1963, 1966; Phoenix Art Museum, 1964.
University of California, Riverside, 1959;
Los Angeles, 1961, 1962, 1964, 1965, 1967; M. H.
Home
University,
Arts
New
and
Letters,
Art, Los Angeles; Yale Hoven, Connecticut; Notional Institute of Sumner Foundation of Art, Whitney
in
group exhibitions
Barbara Museum of
Museum of American Art, New York; Joslyn Omoho; Palm Springs Desert Museum, Inc.,
Collection, Pipersville, Pennsylvania;
Art
Museum,
California;
Los
The Pennsylvania Academy of the Fine Arts, Philadelphia, 1959; Butler Institute of American Art, Youngstown, Ohio,
1959, I960; University of California, Los Angeles, I960;
McNay
Whitney Museum of American Art, New York, 1960, 1961, 1962; M. H. de Young Memorial Museum, San Francisco, I960; The John and Mable Ringling Museum of Art, Sarasota, Florida, I960; La JoMo Museum of Art, California,
San Antonlo; The Fine Arts Gallery of San Diego; M. H. de Young Memorial Museum, Golden West Savings and Loon Association, Son Francisco Museum of Art, Son Francisco; Santo Barbara Museum of Art, California; University of South Florida, Tampa; Joseph H. Hirshhorn
Art Institute,
Collection,
Washington, D.C.
776 /
WBINRIB
WH-s:
DAVID WEINRIB, Orc/e-Tnang/e, 1968. Cast plastic, 3OV2 x42V4. Royal Marks Gallery, New York.
David Weinrib was born in Brooklyn, New York, in 1924. He attended Brooklyn College, New York, and New York
State University College at Alfred. of a John Simon
He was
the recipient
Fellowship,
in
New
York,
New
York.
Howard Wise Gallery, New York, 1963, and the Royal Marks Gallery, New York, 1966. His work has been included in group exhibitions at the Whitney Museum of American Art, New York, 1964-65, 1966-67; Royal Marks Gallery and New York University, New York, J965; Museu de Arte Moderna de Sao Paulo, Brazil, 1965; in Philadelphia,
at the
1966-67; at Southern
Los Angeles County the Aldrich
Illinois University,
Corbondole, 1967;
Museum
of
and
Museum
Contemporary
Connecticut, 1967.
is
in
County Museum of
Art, Los
Museum
of
American
Art,
New
York.
T-^ij
7-^
WOJCIK
/ 177
GARY WOJCIK,
"The idea
is
Track. 1968.
,
automotive lacque
78
78.
Welded Gilman
steel
and
Galleries, Chicago.
He
lives in
Lexington, Kentucky.
to craft the craft out of the
work; that
is
to
handmade
more than a
visual experience.
The material,
not
itself
becomes material."
Illinois, in
special exhibition of Mr. Wojciks work was held at Oilman Galleries, Chicago, 1968. His work has been included in group exhibitions at McCormick Place, Chicago, 1965; University of Chicago, 1965, 1966; Marina City,
in
Chicago,
1945.
He
Ball State
Gilman Golleries,
degree
in
He was the
and a traveling
778
DALKE
I'-\
Polyester
and
6.
technical
TODAY
through my sculpture.
relationship of at this time, is based upon the In my two identical forms resulting from a motion. of intend the three-dimensional forms to be
"My work,
sculpture
I
is
o supplement to these
in
He has studied at Bakersfleld College, and is studying at the San Francisco Art
he
is
California, 1964-66;
Institute,
where
in 1969.
Mr. Dolke
was held at The special exhibition of Mr. Dalke's work Dalke's work Arleigh Gallery, San Francisco, in 1968. Mr. at the University has been included in group exhibitions Eugene, 1968; Dene Ulin F.A.C., New York, 1968;
of
Oregon,
Lyiton Savings
Alto, California,
Oregon, 1968; 1968; Solly Judd Gallery, Portland, Son Jose State College, California, 1968.
Mr. Dalke's work
Dr.
is
and
represented
in
the collections of
Mrs.
and and Mrs. Jerome Fox, Atherton, California; Mr. Benbow Bullock, Burlingame, California; and Mr.
J.
LORAN /
179
Liquitex on
E.
Bernard,
was born
in
Minneapolis, Minnesota,
in
1905.
Son Francisco Museum of Art, annually 1936-62; Whitney of American Art, New York, 1937, 1941, 1944, 1948, 1951, 1952; Colorado Springs Fine Arts Center, 1938; California Wotercolor Society, Pasadena, 1941; Museum of Art, Carnegie Institute, Pittsburgh, 1941; The Toledo
Museum
He studied
in
at the University of
Minnesota, Minneapolis,
in 1954.
Museum
He is teaching He lives in
Berkeley, California.
Michigan, 1953;
Museum of Art, New Academy of Art, Bloomfield Hills, Museu de Arte Moderna de Sao Paulo,
New
York, 1956;
special
Stanford University, California, 1956, 1962; The American Federation of Arts, New York, 1961-62; California Palace
of the Legion of Honor,
New
Museum
of Art,
New
Son Francisco, 1961, 1962, 1963; The Virginia Museum of Fine Arts, Richmond, 1966;
University of California, Berkeley, 1967.
Museum
Young Memorial
is in
Museum, San
Gallery,
Museum;
Viviono Gallery,
New
New
Utah State University, Logon; University of Minnesota, Minneapolis; International Business Machines Corporation,
New
York; Brighom
Young
1966, 1968.
His
Museum
Notional
of
group exhibitions
Art,
at
The
Art; Santo
Barbara Museum of
Art, California;
Museum
of
Modern
Inc.,
in
many
private collections.
180 I
STRAUTMANIS
^6
EDVINS STRAUTMANIS, Supercroff, 1968. Paint on wood, 57V2 X 126 X 108. Joseph Faulkner-Main Street
Galleries, Chicago.
"My
in its
let
structure function
1933.
He has
lives in
He
Chicago,
Illinois.
Louis, 1963;
in
group
Chicago, 1960, 1965, 1966; John Gibson Gallery, Adele Rosenberg Gallery, Chicago, 1961; McCormick Place, Chicago,
1962; University of Chicago, 1963; University of Washington,
Seattle, 1963;
De
Paul University,
Tacomo Art Museum, Washington, 1963; Hyde Park Art Center, Chicago,
of Art, Indianapolis, 1964; University
Circle, 1965;
1964; Herron
of Illinois at
Museum
Chicago
Noah Goldowsky
Street Galleries,
Gollery,
New
Main
Museum of American Art, New York, 1968; and Illinois Museum of Natural History and Art, Springfield, 1968.
BBKEN
I 181
LEWIS BEKEN, Orgeos -27, 1968. Acrylic on canvas, 63 X 63. Comara Gallery, Los Angeles.
"For
A special exhibition of Mr. Beken's work was held at the Comoro Gallery, Los Angeles, 1969. Mr. Beken"s work has
me
painting
is
a search
is
means
of
communion
been included
in
group exhibitions
Art, Los
at the Los
Angeles
of
County Museum of
Downey Museum
with
its
I
pattern
and
its
am
exploring relate,
I
think in
of
its
dynamics that pervade natural phenomena. terms of an integrated construct that develops out
essentials.
Westwood
Art Association,
own
"When
surface
becomes space,
becomes
illusion,
Comoro
becomes event
as sensory.
I
is
symbolic as well
am
object or o sensation
in
themselves
Westside Jewish Community Center, Los Angeles, 1968; Newport Horbor Art Museum, Newport Beach, California,
1968; Cerritos College, Norwalk, California, 1968;
they
fall
produce an event
implications."
but,
& Exposition
Community
Lewis Beken was born in Los Angeles, California, in 1924. He studied at the Bisttrom School of Art, Chouinard Art
School of the California Institute of Arts, Otis Art Institute of Los Angeles County, University of California, Los Angeles;
His
work
is
in
and
at the
Institute.
in Los
Angeles, California.
782
HAkTIGAN
/ 183
Cycle, 1967.
Oil on
Gallery,
New
Art,
Museum
of
New
York.
American
New
Academy
for
human
Musee des
York, 1964;
New
New
expression
Norfolk
Museum
of Arts
and Sciences,
investigation of our
"I
to
an
New
New
York, 1965; S. C.
have never been interested in formalism per se and each subject in turn seems to require its own style. Now the
concern with anatomy brings forth complex imagery, an
intense attention to drawing a limited color palette and an
all-over openness."
Institution,
Washington,
Art Center,
Worth
New
York, 1967;
Washington,
Grace Hartigon was born in Newark, New Jersey, in 1922. She studied in New York with Isaac Lone Muse; and she has traveled in Europe and Mexico. She has taught at the University of Minnesota, Minneapolis; and presently she is teaching at The Maryland Institute, Baltimore. Miss
Hartigon
lives In Baltimore,
Her work
Buffalo;
Baltimore
Maryland.
in many collections including those of The Museum of Art; Albright-Knox Art Gallery, Wassermon Development Corporation, Cambridge,
is
de Nagy Gallery, New York, 1951, 1952, 1953, 1954, 1957, 1959; Vassor College, Poughkeepsie, New York, 1954; Chatham College, Pittsburgh, I960; Gres Gallery, Woshinglon, D.C., I960; Museum of Art, Carnegie Institute,
at the Tibor
Pittsburgh, 1961;
New
York, 1962,
1964, 1967; University of Minnesoto, Minneapolis, 1963; Franklin Siden Gallery, Detroit, 1964; The Maryland
Institute, Baltimore, 1967; University of
Rapids Art Museum, Michigan; Nelson Gallery-Atkins Museum, Kansas City, Missouri; Mr. John Solnsbury, London; The Minneapolis Institute of Arts, Walker ArJ Center, Minneapolis; The Brooklyn Museum, Mr. Perry Davidson, Mrs. Jacob Epstein, Mrs. Myron Hofer, Mr.
group exhibitions
Modern
Art,
New
1963, 1966; The Museum of Modern Art, New York, 1955-56; Museu de Arte Moderno 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, I960; Walker Art Center, Minneapolis, I960; University of Michigan, Ann Arbor, 1961; The Solomon R. Guggenheim Museum, New York, 1961, 1962; Museum of Art, Carnegie Institute, Pittsburgh, 1962; Krannert Art Museum, University of Illinois, Champaign, 1963, 1967; Mary Washington College, Fredericksburg, Virginia, 1963;
Instituto
E.
Weill,
Whitney Museum
American
Art,
New
York;
Museum
College, Poughkeepsie,
New
of
Museum
Louis;
of Art,
Museum
Contemporary
St.
Art, Ridgefield,
James
A.
Pipersville, Pennsylvania;
Woltham, Massachusetts; The Washington Gallery of Modern Art, and The Woodward Foundation, Washington, D.C.
184 I
O'KEEFFE
GEORGIA O'KEEFFE, Black Door with Red, 1955. Oil on canvas, 48 x 84. The Downtown Gallery, New York. (1955, 1957, 1959)
Georgia 0"Keeffe was born in Sun Prairie, Wisconsin, In 1887. She has studied at The School of The Art Institute of Chicago, under John Vanderpoel, 1904-05; Art Students League of New York, under William M. Chase, 1907-08; University of Virginia, Charlottesville; and Columbia University, New York, under Arthur Dow and Alan Bement,
She has received honorary degrees from the College of William and Mary, Williamsburg, Virginia, 1939; University of Wisconsin, Madison, 1942; Mills College, Oakland, California, 1951; and a Creative Arts Award from Brondeis University, Woltham, Massachusetts, 1963. She
1916.
Is
in
Addison
Baltimore
Museum
of Art; Bryn
Mawr
College, Pennsylvania;
Institute of
Buf=falo;
The Art
Museum of Art; Colorado Springs Fine Arts Center; Dallas Museum of Fine Arts; The Detroit Institute of Arts; Amon Carter Museum of Western Art and
Fort
Fort
Institute, Indianapolis;
Lubbock; Randolph-Mocon
Woman's
College, Lynchburg,
New
was elected a member of the National Institute of Arts and Letters, New York, 1947; and American Academy of Arts and Letters, New York, 1962. Miss O'Keeffe has taught at the University of Virginia, Charlottesville; Columbia College, South Carolina; and West Texas State University,
Canyon. She has traveled extensively in the United States and Europe. She lives in Abiquiu, New Mexico.
Special exhibitions of Miss O'Keeffe's work have been held at "291," New York, 1916, 1917, 1926; Anderson
Galleries,
Hampshire;
Minneapolis
Fisk University,
Memphis; The
Miller
Company,
Minnesota,
and the Walker Art Center, Minneapolis; The Newark Museum, New Jersey; The Brooklyn Museum, International Business Machines Corporation, The Metropolitan Museum of Art, The Museum of Modern Art, Whitney Museum of American Art, New York; University of Oklahoma, Norman;
Smith College, Northampton, Massachusetts; Joslyn Art
New
New
An American
Place,
New
1935, 1936, 1937, 1938, 1939, 1940, 1941, 1942, 1944, 1945, 1946, 1950; University of Minnesota,
New
Museum, Omaho; Philadelphia Museum of Art; Reed College, Portland, Oregon; University of Rochester, New York; The Roswell Museum and Art Center, New Mexico; City Art Museum of St. Louis; Westminster Academy,
Salisbury, Connecticut; San Francisco
York, 1937,
and Mary,
Barbara Museum of
Art, California;
Museum Mayo
of
Modern
Art,
New
York, 1946; La
Escondido, Taos,
Arts, 1953;
New
Hill
Museum
of Fine
Munson-Williams-Proctor
New
York;
Pomona College, Claremont, California, 1958; Worcester Art Museum, Massachusetts, I960; Milton College, Wisconsin,
Mexico, Albuquerque, 1966; Amon Carter Museum of Western Art, Fort Worth, 1966. Her work has been included in many major group exhibitions
1965; University of
Woodward
Foundation,
New
Washington, D.C.; Wellesley College, Massachusetts; Norton Gallery and School of Art, West Palm Beach, Florida; Wichita Art Museum, Kansas; Wilmington Society of Fine
Arts,
nationally
and
internationally.
Delaware.
STANCZAK
/ 185
JULIAN STANCZAK,
in Accordance with Measure, 1967. Polytemp on canvas, 76 x 76. Martha Jackson Gallery,
New
"In
York.
(1965)
I
my
I
work,
do
would run
In porallel
to
was born in Borownlca, Poland, in 1928. Borough Polytechnic Institute, London, 1949 50; The Cleveland Institute of Art, where he received a B.F.A. degree in 1954; ond at Yale University, New Haven, Connecticut, under Josef Albers and Conrad Marca-Relli, where he received on M.F.A. degree in 1956. Mr. Stonczok has taught ot the Art Academy of Cincinnati, 1956-64; and The Cleveland Institute of Art. He lives in Cleveland, Ohio.
Julian Stonczok
He studied
at the
1965;
Martha Jackson Gallery, New York, and Kent State University, Ohio, 1968.
in
1964,
group
Ohio
Texas, Austin, 1965; The Pace Gallery, Boston, 1965; Albright-Knox Art Gallery, Buffalo, 1965; Kronnert Art
Museum,
University of Illinois,
Nebraska, Lincoln, 1965; Amel Gallery, Martha Jackson Gallery, The Museum of Modern Art, New York, 1965;
Riverside
1965, 1966;
in
Scorsdole,
New
Youngstown, Ohio, 1965; Lehigh University, Bethlehem, Pennsylvania, 1966; Des Moines Art Center, Iowa, 1966;
Feingarten Galleries, Los Angeles, 1966; Ferus Gallery,
Cincinnati, 1967;
Whitney Museum
represented
of
American
Art,
New
in
in
mony
collections,
Museum
of
Contemporary Art, Ridgefield, Connecticut; Librory of Congress, Washington, D.C.; ond in England, Germany, Japan, Kenya, and Mexico.
Photography Credits
appear
in
numbers on which
work
is
reproduced.
33, ii,
47
85, 74
NELSON -
FRAN
NODEN-92
128, 142, 51
ERIC POLLITZER-73, 97, 89, 150, 144, 103, 132, 143, 156, 174
WALTER ROSENBLUM - 65
SCHIFF-77,
117, 75, 147, 113, 109, 122, 173, 163, 124
UHT-98
Notes
Notes
Notes
Index
AKAWIE, Thomas
42
CADMUS,
Paul
.98
ALLEN, Boyd
127
CHASE, Ronald
139
ALTOON, John
137
45
BACKSTRAND, Jay
52
COLE,
Max
78
BAKER, George
62
DALKE, Michael
178
BALLAINE, Jerrold C
99
DAPHNI5, Nossos
154
BALSLEY, John
70
DE FOREST, Roy
155
BARNET, Will
147
DE KOONING, Willem
47
BATTENBERG, John
94
EDMONDSON,
EMERSON,
Leonard
170
BAUERMEISTER, Mary
85
Charles
114
BEAL, Jack
73
ESTES, Richard
90
BEASIEY, Bruce
107
FABERT, Jacques
49
BECHTLE, Robert
50
FALKNER, Avery
138
BEKEN, Lewis
181
FERRARI, Virginio
84
BENTON,
Fletcher
146
FREEMAN, John
148
BLACK, David
135
GEIS, William
R., Ill
123
BRAD5HAW,
William T
116
GOOCH,
Gerald
153
BRAINARD, Joe
95
GOODMAN,
Sidney
77
BRODERSON,
Morris
175
GOODNOUGH,
GRANT, James
Robert
97
BROWN,
William Theo
83
43
BURFORD, Byron
63
GRAZIANI, Sante
40
BURNHAM,
Jack
96
GREENE, Stephen
113
GREENLY, Colin
60
LAMIS, Leroy
109
HARTIGAN, Grace
182
LANDSMAN,
Stanley
174
HARVEY, Robert
59
LECHAY, James
119
HENDRICKS, James
46
LeWITT,
Sol
136
HOLBROOK,
Peler
69
LIEBMANN, Gerhardt
124
HOLLAND, Thomos
105
LORAN,
Erie
179
HOWARD,
HUDSON,
Robert
165
LYNDS, Clyde
68
Robert
149
MABE, Manabu
87
JACKSON,
Richord
93
MALLORY, Ronald
128
JACOBSEN, Rodger
112
MATISSE, Paul
158
KAISH, Luise
117
MILNE, David
103
KANTOR,
Morris
44
MINASHIMA, Mansaku
88
KA5TEN,
Karl
162
MOORE,
Michael Shonnon
157
KAUFMAN, Donald
144
MORLEY, Malcolm
58
KAWA5HIMA
KITO,
163
MORRIS, George
L.
108
Masando
106
NICKLE, Robert
118
KLAVEN, Marvin
79
OKAMURA,
Arthur
55
KNATHS,
Karl
53
O'KEEFFE, Georgia
184
KOCH, John
56
OLIVEIRA, Nathan
86
KRASNER, Lee
129
ORTMAN, George
OSBORN,
143
KRUEGER, Jack
156
Robert
126
LAING, Gerald
145
PAIK,
Nam
June
74
PARIS, Horold
121
SPRATT, Fred
.152
PARISH, Tom
82
STANCZAK,
Julian
185
PEARLSTEIN, Philip
142
STASACK, Edward
76
PEREZ, Vincent
164
STEPHENSON, John
150
48
STRAUTMANIS, Edvins
180
PINKERTON, Clayton
167
STRINI,
Robert
Louis
168
PORTER,
Fairfield
89
STROBEL, Tom
67
POSEY, Ernest
140
TAM, Reuben
64
PRENTISS, Chuck
159
THIEBAUD, Wayne
122
PRESTINI, Jomes
115
TOVISH, Harold
75
REIBACK,
Earl
102
TREIBER, Richard
134
RICHARDSON, Sam
125
TSAI,
Wen
Ying
132
RICKEY, George
130
WEINRIB, David
176
92
WHITELEY,
Brett
100
ROYER, Victor A
54
WILSON, Bryon
104
SAUL, Peter
110
WINES, Jomes
72
SCHRAG,
Karl
57
WOJCIK, Gary
177
SIEMANOWSKI, Raymond
169
WYETH, Andrew
133
SIMPSON, David
166
ZAJAC, Jack
172
SMYTH, David
160
ZAKANYCH,
Robert
173
SNOWDEN, Mary
50YER, Moses
66
ZEISLER, Claire
80
65
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