New work on paper I John Elderfield

Author Elderfield, John

Date 1981

Publisher The Museum of Modern Art

Exhibition URL www.moma.org/calendar/exhibitions/2019

The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists.

MoMA © 2017 The Museum of Modern Art NEW WORK ON PAPER

JAKE BERTHOT

DAN CHRISTENSEN

ALAN COTE

TOM HOLLAND

YVONNE JACQUETTE

KEN KIFF

JOAN SNYDER

WILLIAM TUCKER

JOHN ELDERFIELD THE MUSEUM OF MODERN ART NEW YORK

NEW WORK ON PAPER 1

Thisis the first in a seriesof exhibitionsorganized by The Museumof ModernArt, New York, each of whichis intendedto showa relativelysmall number of artists througha broadand representativeselection of their recentwork on paper.Emphasis is placedon newwork, with occasionalglances backward to earlierproduction where the characterof the art especially reguiresit, and on artists or kindsof art not seenin depth at the Museumbefore. Beyond this, no restrictionsare imposedon the series,which may include exhibitions devoted to heterogeneous and to highlycompatible groups of artists, and selectionsof workranging from traditional drawing to workson paper in mediaof all kinds.Without exception, however, the artists includedin each exhibitionare presentednot as a definitive selectionof outstandingcontemporary talents but as a choice, limitedby necessitiesof space, of only a fewof those whose achievementmight warrant their inclusion— and a choice, moreover,that is entirelythe responsibilityof the directorof the exhibition,who wished to share someof the interestand excite mentexperienced in lookingat newwork on paper.

NEW WORK ON PAPER 1

JOHN ELDERFIELD

THE MUSEUM OF MODERN ART, NEW YORK Copyright© 1981by The Museumof ModernArt TRUSTEES OF THE MUSEUM Jr.,Mrs. Albrecht Saalfield, Mrs. Wolfgang All rights reserved OF MODERN ART Schoenborn* Martin E. Segal, Mrs. Bertram Library of CongressCatalog Card Number WilliamS. Paley,Chairman of the Board Smith, Mrs. Donald B. Straus, Walter N. 80-85427 Thayer, R. L. B. Tobin,Edward M. M. Gardner Cowles,Mrs. Bliss Parkinson, David ISBN87070-496-6 Warburg* Mrs. Clifton R. Wharton, Jr., Rockefeller,Vice Chairmen MonroeWheeler* John Hay Whitney* Designedby Keith Davis Mrs.John D. Rockefeller3rd, President Richard S. Zeisler Typeset by ConceptTypographic Services, NewYork, New York Mrs. Frank Y.Larkin, Donald B. Marron, John *HonoraryTrustee Printed by Rapoport Printing Corp., NewYork, Parkinson III,Vice Presidents Ex OfficioTrustees NewYork John Parkinson III,Treasurer Bound by Sendor Bindery,Inc., NewYork, Edward I. Koch,Mayor of the City of New York NewYork Mrs. L. vA. Auchincloss,Edward Larrabee HarrisonJ. Goldin,Comptroller of the City of Barnes, AlfredH. Barr,Jr.,* Mrs. ArmandR New York The Museumof ModernArt Bartos, GordonBunshaft, Shirley C. Burden, 11West 53 Street WilliamA. M. Burden, Thomas S. Carroll, PHOTO CREDITS NewYork, New York 10019 Frank T.Cary, Ivan Chermayeff,Mrs. C. Dave Allison, NewYork, p. 47: Jonathan Bayer, DouglasDillon* Gianluigi Gabetti, Paul London,p. 40; Rudolph Burckhardt, NewYork, Printed in the UnitedStates of America Gottlieb, Mrs. MelvilleWakeman Hall, George pp. 35, 36, 37; Jill Crossley,New Zealand, p. 49; Heard Hamilton, Wallace K. Harrison* William M. Lee Fatherree, Berkeley,California, pp. 31, 33: Kate Keller*pp. 19,20, 21, 23, 24, 25, 27, A. Hewitt, Mrs. Walter Hochschild* Mrs. 28, 29, 43, 44, 45; Mali Olatunji, NewYork, "New Work on Paper 1" has been organized Barbara Jakobson, Philip Johnson, Ronald S. p. 32: RodneyTodd-White, London, p. 41; with the aid of a grant from the National Lauder,John L. Loeb* Ranald H. Macdonald* AndrewWatson, London,p. 39. Endowment for the Arts in Washington, D.C., Mrs. G. MaccullochMiller* J. Irwin Miller*S. I. and is dedicated to the Endowment on the Newhouse,Jr., Richard E. Oldenburg,Peter G. Currently staff photographer, The Museumof occasion of its fifteenth anniversary. Peterson, GiffordPhillips, David Rockefeller, ModernArt, NewYork. CONTENTS

Introduction 6 Jake Berthot 18 Dan Christensen 22 Alan Cote 26 TomHolland 30 YvonneJacquette 34 KenKiff 38 Joan Snyder 42 WilliamTucker 46 Checklistof the Exhibition 50 Bibliography 53 Acknowledgments 56 INTRODUCTION

Thisis an exhibitionof workson paper madein the past few Thework of one or two of these artists may be unfamiliarto years by eight artists, all of whomI believeto be producingfine manyobservers. The exhibition, however, no moreaims at the and importantwork and for whomthe use of paper,either for "discovery"of newart than it attemptsto reviewfirmly estab makingwhat are unguestionablydrawings or for makingobjects lishedreputations. Most of the artists in the exhibitionare in of other kinds,is essentialto their artistic practice. fact wellknown to those whofollow contemporary art: most Muchthat I have to say about the exhibitiondeals withcertain first cameto publicattention some ten or moreyears ago. But broadconcerns —principally with image-making and withthe all are still what we like to call "younger"artists: that is to say, reenrichment,and at timesreinvention, of traditionalmodern in their late thirtiesand early to mid-forties,which is the age forms—that seemto link in differentways what these artists whenmost serious modern artists begintruly to comeinto their are doing.It is important,therefore, to remindourselves from own.My decision finally to concentrateon selectedmembers of the start just howvarious their workis. this generationwas one of only two consciouslyprogrammatic acts in my organizationof this exhibition.The other was to Ofthe eight artists in the exhibition,one, WilliamTucker, is a bringtogether within a singleexhibition space workthat sculptorwho has beenproducing full-scale drawings for his seemedreasonably compatible, while keeping the exhibition three-dimensionalwork. Another, Tom Holland, is a painter- openand catholicat the sametime. Beyondthose decisions, the collagistwho works in both reliefsand three dimensions.Two of exhibitionconcentrates on showingwhat I understandto be the artists, WonneJacquette and KenKiff, may be describedas recentwork of quality,without pretending, however, either to be realists,though of almostopposite persuasions: the formerbas fullyrepresentative, even of that generation,or to be a critical ing her workon the observedworld, the latter on the worldof pantheonof any kind. (It does,in fact, includesome of those his imagination.Two are abstract artists, in their workon paper whoI thinkare amongthe best artists of their generation,but it as in their paintings,though again quite differentin approach: doesnot includethem all.) AlanCote makes drawings in abrasivemonochrome while Dan If this exhibitiondoes have a certain coherenceand identity Christensenuses soft and lyricalcolor. Finally, two of the artists despitethe broadrange of workthat it contains,it is not occupy,at least in their workon paper,regions half-way becauseit definesanything (a group,a school,even a trend), betweenrealism and abstraction:Jake Berthot, though an but becauseit reflectssomething, namely a set of attitudes that abstract painter,makes drawings that have their sourcein in differentways pervades the workof manymembers of this objectsof the world,while Joan Snyder uses imagery of a diaris- generationof artists that first emergedin the later 1960s.I dis tic and symbolicnature, and at timesemploys a rangeof mate cuss theseattitudes (at least, as 1see them)as I reviewthe work rials that far exceedsthat of traditionaldrawing. ol theseeight aitists, not only becauseI think it aids apprecia- tion of their work,but also becausetheirs was the first genera of the support,the tendencyto modularand all-overforms, and tion to have had to cometo termswith important recent the senseof emotivecoolness in imageryitself that have char changesin the wholecultural climate within which modern art acterizedart of the Cubist-derivedtradition and that climaxed is made—and that nowaffect virtually all ambitiousmodern in the art of the 1960s.The attempt to enrichstructures of this artists exceptfirmly established ones, and evensome of those. kindwith a newsense of iconicvigor, but withoutsurrendering Andwhile what I have to say about these thingsshould be the "modern"wholeness of the object,has sincethe 1960spar understoodas applyingspecifically to the eight artists in the ticularlyaffected a significantamount of realist art, whichin exhibition,some of it may have broadersignificance, both for effectopposes a "modern"structure with formaland icono- otherartists of their generationand for those of other genera graphicaldisturbances that threatento destroythat structure tions as well. but that end up by reinforcingit in a newway. Thework of YvonneJacguette is usefullyconsidered in this very Oneattitude that pervadesthe workof nearlyall of the artists context.Her interest in serial imageryand at timesin modular in this exhibitionis the desireto enrichan apparentlyover- structures(diptychs and triptychs)links her workto familiar attenuatedmodern tradition through a returnto image-making modernistpreoccupations. So does her use of a relativelylarge of differentkinds, whether in an abstract or a specificallyrealist formatfor what are still perceivedas drawings- for the context. attempt to expanddrawing to the status of an independentart, equivalentto painting,was one of the characteristicsof avant- Image-making,that basic and traditionalfunction of pictorial gardeart in the 1960s.But just as importantas scale to Jacguette art, has freguentlyassumed a somewhatproblematic role within is her all-overtouch (and her attraction to dark subjects,which the advancedart of our time,and largelybecause of the doc givesher toucha far greaterprominence than did her earlier trine of the autonomyof the objectthat modernismreinforced if light subjects),since it is this that givesmaterial density and not actuallycreated. That optimisticbelief in a selt-contained cohesionto the rich and velvetysurfaces in whichher nowusu workof art withits ownorder, its ownmaterials, its owninde ally negativefiguration seems to be embedded.The architec pendencein a worldof objectshas tendedoften to militate tural motifsshe often uses also, of course,reinforce the geomet against anythingthat seemedseparately to addressthe viewer ric wholenessof her compositions,but the newerdrawings of fromwithin the work,lest the workitself becomemerely a vehi illuminatedhighways and bridgessuggest that touchitself is cle or groundand thus surrenderthe addressthat it as a whole what is reallycrucial. wouldmake. This accounts for, among other things,the ten dencyto want to tie or otherwisealign imagery to the geometry Theall-over surface density of Jacguette'swork, married as it is to metropolitansubjects seen fromabove, must inevitably recall Herearliest totally individualworks used a grid formatas a certainImpressionist prototypes. The casualness of the Impres kindof writingpad, she oncesaid, on whichto place driftsof sionistviewpoint, however, has beenset hard and formalizedby individually-chargedbrushstrokes, each of whichhad a senseof the interveningexperience of abstraction.(1 am remindedin this weightand presence— a senseof identity,in fact —such as tra contextmore of Malevich'sillustrations of aerial views"which ditionallybelonged to figurativeimagery. The accumulation of stimulatethe Suprematist"in hisDie GegendstandsloseWelt.) suchabstract characterscontinues in the recentwork, as also at Part of the beautyof her worklies in its fixingsuch inherently timesdoes the all-overgrid (and if not that, someother kindof spectacularsubjects to a rigidlyabstract surfacethat holdsthe surfacegeometry). However, the only implicitlynarrative asso eye on its warmand grainymonochrome. But also intervening ciationof marksin the earlierpictures has nowbeen replaced, hereis the experienceof photography,and whileJacquette does in sectionsof the recentones, by clustersof marksthat unques actuallydraw from airplane windows to makeher composite tionablyform trees, houses,words, and so on. Thecoexistence viewsof motifsthus fragmentarilyseen, still somethingof the thus establishedbetween the "abstract"and the "real"adds both croppingof the motifs,and of the way they seemto describeby a newsemantic as wellas iconographicrichness to Snyder'sart synecdochethe largerurban whole, recalls the actionof the and allowsher to conjureup a highlypersonalized and intimate camera.Or perhaps it is just the objectivityof these images,and poetry- at timesnostalgic, at othersalmost brutal - that the way they seemto be embeddedin the skin of the surfaceas "belongs"to the very materialsthat create it. photographicrepresentations are trappedin their surfaceemul sion,that suggeststhis comparison.Certainly an assumptionof Matchingthe introspectiveimagery of Snyder'swork is a sense distancefrom her subject-matterthat is psychologicalas wellas of technicalintroversion. A geometrically structured ground will literal characterizesJacquette's art, and this helpsto bondher be disruptedby a widerange of differentgraphic and liquid dramaticsubjects to her almostminimalist sense of form. media,and by added materialstoo, and willbe "damaged"at timesby tearing,scoring, and painterlyscratching, it is as if the A similarbonding of minimalist-derivedstructures and what debrisand scars of painfulas wellas pleasurableexperiences are, potentiallyat least, iconographicaldisturbances may also have defacedthe clean recordof an otherwiseordered exis be observedin JoanSnyder's work. Although her eclectic,inclu tence.What thus subvertsform is itself,of course,formal; still, sive use of materialsand highlyemotive, diaristic imagery it is in part becauseof the play and tensionachieved between firmlyseparates her art fromthe cool, deductiveapproaches of what we perceiveas the orderedand the allusivecomponents of the 1960s,her use of an often explicitlygeometric framework on Snyder'sart that her hybridsachieve their force.Even more than whichto hang suchmaterials and such imageryreminds us of in Jacquette'swork, that originallyCubist sense of dislocation the contextfrom which her art first emerged. betweenthe abstract structureof the workof art and the "reality"of the imagerythat fills it is centralto what Snyder graphicaltheme does run throughhis workit is the chartingof does. an obviouslymodern voyage of discoveryinto the primalinter ior of the imagination. To note that this tensionor oppositionbetween structure and imageryis not presentin KenKiff's work is not to say that it is It wouldbe wrong,though, to think of his workas simplyillus- any the better or the worsefor it; rather,that of all the artists in trational.What gives it its uncannypower is the remarkable this exhibition,he is perhapsthe one whoseeks most deter coincidencethat Kiffachieves between iconographic and stylis minedlyto circumventthe Cubisttradition. In doingso, how tic invention.Even without knowing from the artist that deci ever,he looksback to anotherside of modernism.The emotive sionsabout style and subjectare madetogether —that the form and autobiographicalfocus of his art is not essentiallythat dif of the subject-matterowes as muchto pictorialas to thematic ferentfrom Snyder's but, whereasher art willat timesevoke imagination—we recognizethis in his work:in the rhymingand Klee,his —though based in the very deepestadmiration of this correspondenceof the imagesthrough which these bizarrenar artist— will more likely recall Nolde, Chagall, or Redon,as well rativesare told; in the senseof interactionand reciprocation as an earliertradition of fantastic and Romanticart for which betweenfigure and groundthat itself tells of the issuesof sepa- the act of imageinvention was alwaysof essentialimportance. ratenessand belonging,of alienationand accord,that the sub jects themselvesprovoke; and in the inventionof shapeitself by Kiff'swork draws very explicitly on a rich heritageof mythical movementsof densepaint acrossthe circumscribedsurfaces and elementalimagery. Both in his watercolorsand in that that reinforcesboth the fluidityand the earthinessof this pri groupof pictureson paperbegun in 1971and nownumbering vate world. nearly200 that he calls "ASequence" and considersa single It is as wellto remindourselves at this point that the "return"to work,we finda dramatis personae that wouldnot be out of image-makingof differentkinds that characterizesmuch recent placein the fairytales of any Westernculture. (He in fact illus art, and the appearancealso of kindsof art that seekto bridge trated a volumeof Folk Tales of the British Isles in 1977.) realismand abstraction,are by no meansnew. Each clearly pre Swollen,fetal headsand deformedanatomies —at timesgro sentsitself as a reactionagainst the moreprogrammatic and tesqueand threatening,at othersbeneficent and gleeful— and a reductiveforms of recentmodernism; that reaction,however, stockof archetypalproperties including lakes, volcanoes, cas drawsupon and does not repudiatemodernism itself. tles, and boats,inhabit his imaginarylandscapes. Kiff's imagery, however,is not entirelyatavistic, being mediated if not tem Certainly,over the past decadeor so we have seen a newsense peredby the experienceof Jungiananalysis (as is madeclear by of fragmentationin modernart, and the initiationof a new the largestof his worksin the exhibition);and if a singleicono- periodof eclecticism,flux, and sometimesbewildering change. The"heroic" period of postwarmodernism would seem to have posedly,its escapism.Realism and image-makingcome to prom givenway to an extremelyopen situation in whichcoexist a inence,moreover, both in oppositionto morerigorously abstract widevariety of differentapproaches to art-making(if not such a developmentsfrom the originalinnovative style, and as a com varietyof stylesas is sometimesclaimed) and an evenwider plementto these developments,sharing some of their stylistic varietyof qualitativeachievement. However, to describeall this features.(Hence the emergenceof both realist and abstract underthe bannerof "post-modernism,"as is often done,is really image-makingalongside geometric abstraction after WorldWar to beg the question:it neglectsthe incidenceof comparable I, whenthe essentialrevolutions of Fauvismand Cubismhad situationsin earlierperiods of modernart (the 1930s- early beenestablished. Also, the appearanceof differentforms of 1940sis the mostobvious example); it minimizesthe oftenvery realism,including Pop art, in the later 1950sand 1960salongside considerabledependence of the newart on earliermodernism: morerigorous extrapolations of AbstractExpressionist field and mostimportantly, it tendsto avoidserious reflection on paintingand then Minimalistart.) Thisthen seemsto be fol what is especiallyvaluable among all that is nowbeing made, lowedby a periodof eclecticstylistic meldings and hybridforms replacingevaluation of this kind with a passiveand permissive that draw,in variousways, on the broadenedmodernist options acceptanceof the "pluralism"of recentart. Recentart is indeed thus created.(Hence the technicaland stylisticrecomplication pluralistin the sensethat no singlenew approach has achieved of newabstract art, and the creation—alongside established dominance,but that is as mucha functionof the audiencefor realistand abstract art —of art that blendedrealism and newart as of the art itself.And besides, modernism was not abstractionboth in the 1930s- early 1940sand in the 1970s.) alwaysas circumscribeda thing as it becamein the theoreti Thisis, of course,to drasticallysimplify two differentsitua cally self-consciousavant-garde of the recentpast. It is the con tions, and I by no meansintend any exact parallel,nor admit straintsof recentmodernism and the restrictionsof avant-garde any elementof predictionin all this. It maywell be, as somedo theorythat the best of the newart rejects,not modernismitself. insist,that modernismhas all but run its course,and that we cannotexpect the presentperiod of fluxto produceanything as Thereis, perhaps,some pattern to be foundin what has been strongand importantas last eventuallyemerged from such a happeningover the past decadeor so. Thereis too little evi situation.But new art, and not newtheorizing, is what will denceto be categoricalabout this, but it doesappear that answerthat. realismand image-makingstart to cometo prominencewhen a Forthe moment,we mustsimply rely on art that is nowbeing major,innovative modern style passesfrom its momentof inno made,and noticea broadattempt to graft a morevigorous vation to the achievementof an establishedstatus, and is chal stock onto a mainstreamthat has grown,in somehands, thin lengedon the groundsof its aestheticismand therefore,sup and sicklythrough overcultivation. Most of the artists in this exhibitionfirst cameto publicattention before it was finally earlierartists that Berthotadmires, but there is no quotingin his clearthat the optimisticprogress of postwarmodernism had run art. Everythingis givenwith obsessive directness, although it is into difficulties.Most inherited the optimismof that earlier givenin a varietyof differentways. period:all have had to survivethe struggleto makeserious In the firstgroup of skulldrawings (1976-77), it is ecriture that worksof art in the face of an increasinglydisorienting artistic dominates:line that is descriptivebut has a senseof abstract climate.That burdenis not, of course,theirs alone, nor only independencecharacteristic of the writtensign. Marks of this that of their generation.But their generationwas the first to kind,which hover on the boundariesof showingand telling, feeland respondto the changesthat youngerartists are now slideand skid acrosswet-painted surfaces, and are joinedthere feeling.For them, at least, the challengeis to escapethe con by "real"signs: by scribbled-onwords and phrases,although straintsthat recentmodernism has created,and reinventtheir oneswhose meaning is veiledand obscured.In the secondgroup modernismfor themselves. (1979),a similarblend of imitatingand signifyingalso obtains, Wesee this very explicitlyin JakeBerthot's recent work, and but nowthe imagesseem threaded together from separate cur particularlyin his drawings.From the start, his paintingshad sive marksand scratches,and the surfacesthat containthem attemptedto reinvestreductive, minimalist structures with a are richerand moodierthan before.A broad range of neutral, senseof traditionalauthority by usingfixed, logical shapes fugitivetones, and a senseof muffled,creamy light (andin the whoselogic was dissolvedin the immaterializedgrisaille sur companionnegative drawings, of lamp-blackdarkness) causes facesthat surroundedthem. The implicit romanticism of the the flattenedsilhouettes of the skullsto seemto float in spectral paintingsappears unchecked in manyof Berthot'sworks on fashionacross the front surfaceof a poetic,chiaroscuro space. paper,and nevermore so than in the seriesof drawingsof skulls Themost recent drawings are generallymuch smaller, more obsessivelydescriptive, and contemplative.Some juxtapose he beganin 1976. nowovertly mimetic mark-making (that refersright back to It is probablyrelevant to these worksthat Berthot'sfirst intro sepia anatomicaldrawings of the Renaissance)with densepas ductionto modernart was througha bookon Picasso'spaintings sagesof tiny writing;others leave the memento mori imagevir of the periodof WorldWar II — those somber,moody still lifesof tually alonein its possessionof the framedopaque surface and skulls,candlesticks, and the eguipmentof meagermeals. But trappedthere by the pressureof a space that seemsmore tangi there is nothinghistoricist about Berthot's"realism," as there is ble than what it contains. in muchcontemporary art (and architecture)that also attempts to retrievewhat the rushof modernistextremism has allowedto Modernismas a wholehas beenhaunted by the questionof be forgotten.We do find, as inevitablywe must,reminders of direct,straightforward contact with the worldthat its early turn fromillustrated subject-matter has renderedproblematic. And it ings that Christensenmade in the early and mid-1970s,although has beeneven more acutely haunted by its increasingrepudia stylisticallyquite various— ranging from broadly geometric tion (fromImpressionism to AbstractExpressionism and beyond) combinationsof differentlycolored and texturedbands to ges- of the traditionalimage-making qualities and "serious"chiar turally-inflectedpainterly continuums - are linkedby his inter oscurospaces of earlierart. Howto retrievesome of these qual est in a kind of coloreddrawing that itselfprovides the surface ities withoutdenying the achievementof modernism— how to structureof the workof art. Therecent paintings, and these unite modernform and a traditionalsense of meaningwithout, workson paper that accompanythem, return to an evenmore however,using either at arms'length, from an ironicaldistance explicitkind of drawingin colorthan existedin the spray-gun - has beencrucial to manymodern artists. It is one of the ques paintings,but of a kind that buildson both the geometricand tions that drawingslike Berthot'saddress, as do othersin this the gesturalsides of his precedingwork. exhibition. Whileall-overness has nowbeen surrendered for figure-ground Althoughvery different indeed from Berthot, and as different relationshipsand for "imagery,"the cohesiveeffect of all-over fromone another,both DanChristensen and AlanCote are also nessnevertheless remains. This occurs because the drawingthat concernedwith the emotivelycharged image. What separates makeseach picturefrankly repeats the geometryof the whole both of these fromBerthot, however, is not only that each surface—following its corners,its diagonals,or dividingit refusesexplicit reference to the externalworld, and that each is downthe center— as wellas displacingthat geometryat the a "purer"artist in usinga moreunified and restrictedformal sametime: and becausethe colorof the drawingeither stays vocabulary:it is that for each of themthe way their imagery quite closein tone to that of the groundor is a thin or whitened inflectsand structuresa flat, rectangularsurface is of equal, or otherwise"light" form of drawingthat does not seemto cut indeedif not greater,importance than the "charge"of the imag into depth;and also becausethe drawingeither lays candidlyon ery itself. top of the flat surface(which seems, therefore, to pass uninter ruptedlybeneath it) or is embeddedagainst the surfaceby In the later 1960sboth Christensenand Cotebegan making ver accentsand areas of colorthat form,as it were,an upperor sionsof "colorfield" painting that emphasizeddrawing and overlayedsurface. And it is fromthis givingand taking of space shapingas wellas color.Christensen's spray-gun paintings of acrossresolutely frontal as wellas opensurfaces that Christen that periodseem to have beenmotivated by the desireto create sen'sart achievesthe formalcoherence and stabilitywithin an equivalentkind of all-overcursive drawing as existedin the whichhis overtlylyrical sensibility operates. paintingsof JacksonPollock, but with a widerand morevisible rangeof colorthan was availableto Pollock'sstyle. Thepaint Certainorganic allusions are inevitablysuggested by Christen- sen'swork. Its very creationof geometryfrom gesture invites Geometricizationis as imprecisea termfor Cote'sroughly car comparisonwith spontaneousnatural growth,just as the par pentered,heavy imagery as it is for Christensen'slight and ges ticularstructures thus formedinvite comparisonwith specific tural kind.But he too constructsalways with referenceto the fragmentsand formsof the natural world.Associations of this geometryof the sheet, hangingbranchlike clusters of marks kindare a part of the work,not to be imaginedaway, and help fromits top and sides,building corners and edgeswithin its cor to giveto it its distinctivemood, which is moreoften than not a ners and edges,and pushingabout the internalspace with the pastoralone, tellingof the instinctual,of fragileas wellas lush thrustsand movementsof irregularlyclimbing ladders and zig beauty,and aboveall of sensualdelectation. We should not zag lines.Working against this geometricalignment, however, is suppose,however, that acknowledgementof this in any way the abrasivephysicality, the senseof tangibleweight and pres compromisesthe abstractnessof the work,for all abstract art, ence,that belongsto the constructionshe draws,which gives to in one way or another,makes concessions to the appearanceof theman independentreality such as belongsto actual con thingsoutside of itself,if only becausethe mindis incapableof structions.Like diagramed skeletons of objects,they presenta inventingother than on the basis of what somewhereexists. The complexbut highlygeneralized architecture of stress,balance, wayin whichChristensen's work suggests by analogyhow and impliedvolume that recreatesin abstract termsnot so much naturestructures things is by no meansunusual in abstract art. our perceptionof thingsin the worldbut what our bodilyexperi Somethingsimilar is to be foundin AlanCote's work too. enceof themis like. Thedense, sticklike lines from which Cote's recent charcoal Theinsistently syntactical basis of Cote'sdrawings reinforces drawingsare constructedseem far indeedfrom the elegant, this too: the way in whichthey presentthemselves as composed beveled-edgedstrips that scatteredacross the fieldsof colorin in an obviouslyadditive way fromseparate but mutuallyrein his paintingsof the early 1970s.Nevertheless, Cote (like Christ- forcingelements. We see relationshipsbetween elements, 1 ensen)always found a place for explicitdrawing in his workno think,before we see "images"as such—which separates Cote's matterhow much color was givenprominence, and whenhis art workfrom Christensen's (where syntax, though clearly crucial, is radicallybegan to changesome five or six years ago to admit understated)and alignsit moreclosely in this respectwith the heavierimpastoes (as wellas earthiercolors) and a kindof rag traditionof sculpturalconstruction, the traditionto which ged contouringindebted to ClyffordStill, it was not to dispel WilliamTucker belongs, and whoseown sculptures share with drawingbut to makeit morea part of the whole,worked surface Cote'sdrawings and paintingsthe creationof openlinear scaf than it was earlier.The geometricization of Cote'sart overthe foldsfrom expressed sequences of formsand details. past five years givesdrawing if anythinga greaterrole than everbefore. Tucker'srecent sculptures have grown,in fact, far moreholistic and objectlikethan they wereearlier. Although still obviously sculpturein general— and its constructionalnature too, in the madeup of piecesand parts, and still derivingtheir unity from franknessof the marriageof the separatesheets from which it is our cumulativereading of their components,they nowstand up made.Whether or not we see the imageof The Rim in this againstgravity as motifs.As such, they admita greaterdeal of drawing,we sensein it what the experienceof sculptureis like. predeterminationthan did his workthat was organizedacross the planeof the floor.In part becauseof this, and in part Bothdrawings present motifs that rest solidlyon the ground, becauseof his occupyinga temporarystudio too smallto house subjectto gravity,but that free themselvesfrom gravity in the the size of sculptureshe was planning,between 1978 and 1980 rockingmovements that the circleand the arc both imply. Tlickermade a remarkableseries of full-scalecharcoal drawings Tlickerwould seem to be preoccupiedby motifsthat alludeto for his work.Some, like The Rim, first drawing, exploreand architecturalconstructions and details, and particularlyto inventwhat formthe sculpturewill take. Others,like Arc with those—like portals,pediments, and windows—that, although Lintel, presentthe envisagedeffect of the completedpiece. stable, suggestelevation and free-standingness,and that, althoughsolid and whole,surround and openspace. In the Arc Thefirst thingto be said about these drawingsis that they are with Lintel drawing,inspired in part by a famousmural stunningtours deforce. Theirhuge size, their impliedweight sequenceat HamptonCourt, he turns back to the complexitiesof and density,the painterlydetailing that inflectstheir geometry, Renaissanceperspective, using it, however,not as a convention their senseof presenceas wholeimages, and the varietyof indi but as an inventivetool withwhich to modulatethe flowand vidualreadings their size allows:all these elementscontribute pace of the rhythmshe createsacross five differentwindows of to create a kindof "sculptor'sdrawing" that has morethan a lit space.And if the sculptureitself literallyopens to free space as tle of the feelingof monumentalsculpture itself. it sets its weighton the ground,while the drawingcan do neitherof these things,then the wallon whichthe drawingis In the case of the explorativedrawing, it is indeedthe feeling placedarrogates to itself the functionof the stable groundas it rather than the lookof large-scalesculpture that we receive.The holdssuspended in free space this remarkablyconvincing illu completedsculpture The Rim turnedout to comprisetwo vast sionof weightedness. steel wheelsset side by sidewith only a narrowstrip of space betweenthem, and joinedby a regularsequence of crossbars AlthoughTbm Holland is representedin this exhibitionby fully aroundtheir commonperimeter. The drawing searches for the three-dimensionalas wellas by reliefconstruction in paper,he is final diameterof the circleand studiesdown the centerfor not to be considereda sculptorin the way that Tuckeris. His what the formof its end elevationmight be. It also, however, vividlycolored and expressionisticallyhandled works do, of analogizesthe massand the surfaceinflexions of nickers course,look back to the sameCubist sources as ultimately informTucker's severe architecture, but each has drawnon these Thevery large reliefsand free-standingworks in epoxyon sourcesin radicallydifferent ways. While Tucker associates fiberglassand aluminumthat Hollandmakes are both prepared himselfwith the other artists in this exhibitionwho seek to for and complementedby his smallerpaper constructions.Given enrichtheir inheritedtradition with a newsense of iconicvigor, their medium,these have a senseof fragilityand evenat times Hollandseeks enrichment in sensuouscomplication. In doingso, of delicacythat is entirelytheir own.Working against this, he suddenlyfinds himself in the foregroundof what is nowvir however,is the fact that Holland'spainterly touch, when applied tually a wholeartistic school,namely that of polychrome to small-scaleobjects, thickens the surfaceproportionally more assemblage.But he no morebelongs now to any schoolthan he than in the case of largerones. As a result,they achievea heav did earlierwhen he was virtuallyalone in makingworks of this ily tactile and physicalstatus, and a richnessof detailing,from kind.Indeed, if earlierhis reliefsseemed too eccentricto their globby,viscous surfaces, their hardeneddrips of epoxy, properlyfit in withthe formalizedcolor art of the late 1960s, and their embeddedribbons of collage,as wellas fromthe nowthey seemtoo coolyrestrained to be a part of the aggres clipped-edgedrawing of the separatesheets from which they are sivelyenvironmental relief movement that existsat the moment. composed.

Onething, besides its formalizedrestraint, that separates Holland'sart frommost contemporary work in this modeis the I said that Hollanddoes not properlyfit into any schoolor prioritythat it givesto color,and colormoreover that is movement,although he of coursebelongs to his time, and his expressedas integralto the surfacesthat holdit. Andthis is workhas affinitieswith what certainof his contemporariesare whyeven his three-dimensionalpieces cannot satisfactorily be doing.The same is true of all the artists in this exhibition.In describedas belongingto a solelysculptural tradition. Unlike sayingthis, I do not principallyintend to drawattention to their the polychromesculpture that was popularin the 1960s,Hol individuality— though all have achievedindividual forms if not land'swork uses colorneither as a servantof space and form(to alwayscompletely original ones; rather, to point out that much of the best art nowbeing made refuses to belongto a schoolor identifyand inflectthe movementof openplanes), nor to anythingso prescribed. imposea senseof visualwholeness. It uses colorinstead as a propertyof pictorialsurfaces; and it is the attemptto realize Thismight seem to be as muchforced onto these artists as coloracross surfaces that bendand distort,that break and inter willedby them,for there are no dominantnew schools to belong lock,and that turn aroundthree-dimensionally, that informs to (althoughthere still existany numberof surrogateones). But what Hollandis doing.He is, in effect,a painterworking with if sucha situationdoes now exist, it is the artists in this exhibi sheetsof colorwho makes three-dimensional paintings. tion, and otherslike them,who have createdit. Allaccept the fact that the languagesthey use, like all livinglanguages, have least withrecent convention, in wantingan art that tells of natural restrictionsand limitations,and that newforms are moreexperiences and emotions,even at the risk of eclecticism createdby challengingthese restrictionsrather than by or recklessness,or evenof conservatismitself. They are by no attemptingto escapethem entirely. But all do challengethe meansalone in this, and their workon paper by no meanstells restrictionsof the schoolsof the recentpast, seekinginstead a the wholestory of what they do. Butin changingtheir expecta freedomof actionthat is moreinclusive and eventful,and tion of art in general,they have changedour understandingof insistingthat broaderaspects of their traditionbe openedto what contemporarydrawing is like. If fromthis exhibitionit guestionand to exploration. seemsless pure and independentan art than it recentlyhad become,it is also a richer,more complex, and moreinclusive Noneof thembreaks with tradition, and somewill find them one. conservative"because of this; but all breakwith convention, at JohnElderfield JAKE BERTHOT DAN CHRISTENSEN ALAN COTE TOM HOLLAND YVONNE JACQUETTE KEN KIFF JOAN SNYDER WILLIAM TUCKER JAKEBERTHOT

Born1939, Niagara Falls, New York. Attended Pratt Institute, SelectedGroup Exhibitions Brooklyn,1960-62; New School for SocialResearch, New York, 1972"Eight New York Painters," University of CaliforniaArt 1960-61.Lives in NewYork City and Maine. Museum,Berkeley 1973"Annual Exhibition," Whitney Museum of AmericanArt, IndividualExhibitions NewYork; "Paris Biennale," Paris 1970O.K. Harris Gallery, New York (also 1972,1975) 1974"Continuing Abstraction in AmericanArt," Whitney 1971Michael Walls Gallery, San Francisco Museumof AmericanArt, New York 1973Portland Center for the VisualArts, Oregon; Galerie de 1976"Venice Biennale," U.S. Pavilion, Venice Gestlo,Hamburg, West Germany (also 1977); Cuningham- 1978"8 Abstract Painters," Institute of ContemporaryArt, WardGallery, New York Philadelphia;"American Art 1950 to Present,"Whitney 1974Locksley-Shea Gallery, Minneapolis Museumof AmericanArt, New York 1975Daniel Weinberg Gallery, San Francisco 1979"New Painting — New York," Arts Council of GreatBritain, 1976David McKee Gallery, New York (also 1978) HaywardGallery, London 1979Nigel Greenwood Gallery, London; Nina Nielsen Gallery, 1980"L'Amerique aux Independants1944-1980," Grand Palais, Boston Paris t 19 Jake Berthot. Untitled (Skull). 1980. Pen and ink, brush, ink wash, and enamel on gesso ground, 5% x 4%" (14.6 x 12.0 cm). Collection of the artist

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i/ >£^ - "/ / vyf i? Jake Berthot. Untitled (Skull). 1979. Pastel, brush, ink wash, and enamel. 30 x 22" (76.2 x 56.0 cm). Collection Thomas S. Schultz, M.D., Boston ______21 Jake Berthot. Skull Group No. II: Drawing II. 1979. Graphite, brush, ink wash, and enamel on 1/4" gesso ground, 30 x 22 (76.2 x 56.5 cm). Collection John Walker, London DANCHRISTENSEN

Born1942, Lexington, Nebraska. Received B.F.A. from Kansas SelectedGroup Exhibitions CityArt Institute, Missouri,1964. Lives in NewYork City. 1968"Recent Acguisitions," Whitney Museum of AmericanArt, NewYork IndividualExhibitions 1969"Here and Now,"Washington University Gallery of Art, 1967Noah Goldowsky Gallery, New York (also 1968) St. Louis 1968Galerie Ricke, Cologne (also 1971) 1970"Color," Katonah Gallery, Katonah, New York 1969Andre Emmerich Gallery, New York (also 1971,1972,1974, 1971"Color and Field1890-1970," Albright-Knox Museum, 1975,1976) Buffalo;"Lyrical Abstraction," Whitney Museum of 1970Nicholas Wilder Gallery, Los Angeles (also 1972) AmericanArt, New York 1973Edmonton Art Gallery, Edmonton, Alberta, Canada 1972"Abstract Painting of the 70s,"The Boston Museum of Fine 1974Greenberg Gallery, St. Louis Arts,Boston 1977B.R. Kornblatt Gallery, Baltimore; Waton/de Nagy Gallery, 1973"Annual Exhibition," Whitney Museum of AmericanArt, Houston NewYork 1978Douglas Drake Gallery, Kansas City, Kansas; Gloria Luria 1974"Contemporary American Colorfield Painting," Douglas Gallery,Bay Harbor Islands, Florida (also 1980); Meredith DrakeGallery, Kansas City, Kansas Longand Company,Houston (also 1979,1980); Meredith 1977"New Abstract Art," Edmonton Art Gallery, Edmonton, LongContemporary, New York (also 1980) Alberta,Canada 1980The University of Nebraskaat OmahaArt Gallery, Omaha 1978"Expressionism in the 70s,"University of Nebraska,Omaha Dan Christensen. Untitled (No. 1/2" 008-78). 1978. Acrylic, 31 x 22 (78.7 x 57.1 cm). Salander-O'Reilly Galleries, New York Dan Christensen. Untitled (No. 003-78). 1978. Acrylic on colored paper, 31Vz x 22%" (80.0 x 58.1 cm) The Museum of Modern Art, New York. Gift of Mrs. Frank Y. Larkin I Dan Christensen. Untitled (No. 1/8 A015-80). 1980. Acrylic, 30 x 1/4" 23 (76.5 x 59.0 cm). Douglas Drake Gallery,Kansas City,Kansas

' ' ' ALANCOTE

Born1937, Connecticut. Attended School of the Museumof Fine SelectedGroup Exhibitions Arts,Boston, 1955-60. Fellowship from the Museumof Fine 1969Helman Gallery, St. Louis Arts,Boston, for travel and studyin Europe,1961-64. Lives in 1971"Four Painters," Dallas Museum of FineArts, Dallas NewYork State. 1972Richard Gray Gallery, Chicago 1973"Drawings," Whitney Museum of AmericanArt, New York 1974"Painting and SculptureToday," Indianapolis Museum, IndividualExhibitions Indianapolis 1970Galerie Ricke, Cologne (also 1972); Reese Palley Gallery, 1975"Biennial Exhibition," Corcoran Gallery of Art, Washington,D.C. NewYork 1977"Recent Works on Paperby AmericanArtists," The Madison 1972Dunkelman Gallery, Toronto ArtCenter, Madison 1973Cuningham-Ward Gallery, New York (also 1974,1975,1977); 1978"New York Artists," Swearingen Gallery, Louisville JaredSable Gallery, Toronto (also 1974) 1979"New Painting — New York," Arts Council of GreatBritain, 1979Betty Cuningham Gallery, New York (also 1980) HaywardGallery, London Alan Cote. Bright Light. 1980. Charcoal, 50 x 38V2" (127.0x97.8 cm). Betty Cuningham Gallery,New York Alan Cote. Shape of a Form. 1980. Charcoal, 50 x 1/2" 38 (127.0x97.8 cm). Betty Cuningham Gallery, New York Alan Cote. Light Near a Corner. 1979. 1/41/2" Charcoal, 43 x 29 (109.9 x 75.0 cm) Betty Cuningham Gallery, New York TOMHOLLAND

Born 1936,Seattle. Attended Willamette University,Salem, 1978 Smith AndersonGallery, Palo Alto, California; Charles Oregon;University of California at Santa Barbara; and Casat Gallery,La Jolla, California; DrollKolbert Gallery, Universityof California at Berkeley Livesin Berkeley. NewYork 1979 San Francisco Art Institute, San Francisco; Linda Farris Individual Exhibitions Gallery,Seattle; Blum/HelmanGallery, New York 1961 Catholic University,Santiago, Chile 1980 GrossmonteCollege, San Diego;James CorcoranGallery, 1962 RichmondArt Center,Richmond, California (also 1966, LosAngeles 1975) 1963 Lanyon Gallery,Palo Alto, California (also 1964,1965) Selected GroupExhibitions 1965 NicholasWilder Gallery, Los Angeles (also 1967,1968,1969, 1964 "Bay Area Artists,"San Francisco Art Institute, 1972,1973,1975,1976,1977,1979) San Francisco 1966 Hansen Fuller Gallery,San Francisco (also 1968,1970,1972, 1965 "CaliforniaPainters Invitational," Austin Museum,Austin 1973,1974,1976,1977,1980) 1966 "Artfor Children,"Los Angeles County Museum,Los Angeles 1968 Arizona State University,Tbmpe, Arizona 1967 "GrotesqueImages," San Francisco Art Institute, 1970 HelmanGallery, St. Louis;Neuendorf Gallery, Hamburg; San Francisco Robert Elkon Gallery,New York (also 1971) 1968 Philadelphia Academyof Arts Invitational, Philadelphia 1972 Corcoranand CorcoranGallery, Miami; Multiples, 1969 "BiennialExhibition," Corcoran Gallery of Art, Washington, Los Angeles D.C.(also 1975) 1973 Felicity Samuel, London;Knoedler Gallery, New York; 1970 "AnnualExhibition," Whitney Museumof AmericanArt, Current Editions, Seattle NewYork 1975 "Prints and Drawings,"Knoedler Contemporary Art, New 1972 "CaliforniaPrints," The Museumof ModernArt, NewYork York;Dootson/Calderhead Gallery,Seattle; CreighGallery, 1977 National Collectionof Fine Arts, Washington, D.C. San Diego 1978 "NewAcquisitions," Whitney Museumof AmericanArt, 1977 Waton/de Nagy Gallery,Houston (also 1979) NewYork Tom Holland. F.S.No. 2. 1980 1/2' Epoxy on paper, 20% x 15 x 9 (52.7 x 38.1 x 24.1 cm). Hansen Fuller Goldeen Gallery, San Francisco 1/2 Above: Tom Holland. Dome Series No. 23. 1980. Epoxy on paper, 35 x Opposite: Tom Holland. F.S.No. 5. 1980. Epoxy on paper, 19 x 19 x 7" 46 x 2" (88.8 x 106.9 x 5.1 cm). Hansen Fuller Goldeen Gallery, San (49.5 x 48.2 x 17.8 cm). Blum/Helman Gallery, New York Francisco

YVONNEJACQUETTE

34 Born1934, Pittsburgh. Studied at RhodeIsland School of Design, 1973"New York Realism," Espace Cardein, Paris Providence,1952-56. Lives in NewYork and Morril,Maine. 1974"New Images in Painting,"International Biennale, Tokyo 1975"Small Scale in ContemporaryArt," Art Institute of IndividualExhibitions Chicago,Chicago 1965Swarthmore College, Swarthmore, Pennsylvania 1971Fischbach Gallery, New York (also 1974) 1976"The Year of the Woman:Reprise," Bronx Museum, New York 1972Tyler School Art Gallery, Philadelphia 1977"Contact: Women and Nature,"Hurlbutt Gallery, Greenwich, 1974Brooke Alexander, Inc., New York (also 1976,1979) Connecticut 1978"Couples Show," PS. 1;organized by the Institutefor Art SelectedGroup Exhibitions and UrbanResources, New York 1970"Contemporary American Painting and Sculpture," 1979"Figurative/Realist Art," a benefitexhibition for the Artists' WilmingtonSociety of FineArts, Wilmington, Delaware ChoiceMuseum, New York 1971"American Art Attack," Amsterdam 1980"Large Drawings/Yvonne Jacguette, Alex Katz, Ann McCoy, 1972"Annual Exhibition," Whitney Museum of AmericanArt, New York TheoWujcik," Brooke Alexander, Inc., New York 35 YvonneJacquette. Verrazano * *t ' Composite I. (1980). Oil crayon on % v* composition board, 64 x 48" (162.5 >.* * "**. »* * li ^ x 121.9cm). Brooke Alexander, J;X :v

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YvonneJacquette. Aerial Viewof 34th Street. (1979). Pastel on plastic vellum, 37% x 74" (95.9 x 188.0 cm). Collection Malcolm Goldstein, New York Yvonne Jacquette. Diptych: TwoViews from the Empire State Building 1/2" (1980). Pastel on plastic vellum, 47 x 37 each (119.4 x 95.2 cm. each) The Museum of Modern Art, New York. Gift of Lily vA. Auchincloss. KENKIFF

Born1935, Dagenham, Essex, England. Attended the Hornsey 1973"Magic and StrongMedicine," Walker Art Gallery, Schoolof Art,Surrey, England, 1955-61. Lives and worksin Liverpool;"Contemporary British Art," Rochdale, England Wimbledon,London. 1974"British Watercolours," Rochdale, England IndividualExhibitions 1975"Painters of Reality,Mystery and Illusion,"Rochdale, 1975Serpentine Gallery, London England 1979Gardner Art Center, Sussex University, Brighton, England 1976"Body and Soul,"Walker Art Gallery, Liverpool 1980Nicola Jacobs Gallery, London 1979"Narrative Painting," Arnolfini, Bristol, England SelectedGroup Exhibitions 1980"The First Exhibition," Nicola Jacobs Gallery, London; 1970"Critic's Choice," Arthur Tooth & Sons, London "Workson Paper,"Nicola Jacobs Gallery, London "'i * x %

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Ken Kiff. Rainbow and Boat. (1978). Watercolor, 7Vax IOV2"(18.4 x 26.7 cm). Private collection, London Ken Kiff. Sequence 113: Talkingwith a Psychoanalyst: Night Sky 1/2" (1975-80). Acrylic, 30% x 53 (78.1 x 135.9 cm). Collection Edward Wolf, Esq., London 41 Ken Kiff. Sequence 116: Broken Jug. (1975). Acrylic, 1A 23 x IQV2"(59 0 x 47.0 cm). Nicola Jacobs Gallery, London 10AN SNYDER

Bom1940, Highland Park, New Jersey. Attended Douglass SelectedGroup Exhibitions College,New Brunswick, New Jersey, 1958-62; received M.F.A. 1971"Into the 70s,"Mansfield Fine Arts Museum, Mansfield, fromRutgers University, New Jersey, 1966. Currently resides and Ohio worksin NewYork City. 1972"Annual Exhibition," Whitney Museum of AmericanArt, NewYork; "Grids," Institute of ContemporaryArt, IndividualExhibitions Philadelphia 1971Michael Walls Gallery, San Francisco;Paley and Lowe 1973"New York Avant-Garde," Saidye Bronfman Center, Montreal Gallery,New York (also 1973) 1974"Women's Work — American Art '74," Philadelphia Civic 1972Douglass College, New Brunswick, New Jersey; Parker 470 Center,Philadelphia Gallery,Boston 1975"Biennial Exhibition," Corcoran Gallery of Art,Washington, D.C. 1976Carl Solway Gallery, New York; Reed College, Portland, 1976"23 American Women Artists," Mary McKay Koogler Art Oregon;Portland Center for the VisualArts, Portland, Institute,San Antonio Oregon;Los Angeles Institute of ContemporaryArt, 1977"Contemporary Women: Consciousness and Content," LosAngeles BrooklynMuseum, New York; "Drawing on a Grid,"Susan 1977Wake Forest University, Winston-Salem, North Carolina CaldwellGallery, New York; "Twelve from Rutgers," 1978Neuberger Museum, Purchase, New York; Hamilton Gallery UniversityArt Gallery, Rutgers University, New Brunswick, of ContemporaryArt, New York NewJersey Joan Snyder. Study for Symphony for Felicia. (1978). Pastel, watercolor, graphite, beads, and thread. 22Vi x 42" (57.2 x 106 7 cm). Collection Felicia Sachs, New York p»ft. p-*-

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Joan Snyder. Double Symphony.(1976). Oil crayon, ink, graphite, and gesso on cardboard, 16 x 31%" (40.6 x 81.0 cm). Collection of the artist Joan Snyder. Study for FMSWNL. (1980). Paint on lithographic proof, 1/21/4" 25 X 37 (64.8 X 94.6 cm). Collection of the artist WILLIAMTICKER

Born1935, Cairo. Attended Oxford University, 1955-58. Studied SelectedGroup Exhibitions sculptureat CentralSchool of Artand Designand St. Martin's 1961"Twenty-six Young Sculptors," Institute of Contemporary Schoolof Art,London, 1959-60. Lives in NewYork. Arts,London IndividualExhibitions 1965"New Generation 1965," Whitechapel Gallery, London 1962Grabowski Gallery, London 1966"Primary Structures," The Jewish Museum, New York 1965Richard Feigen Gallery, New York 1968"Documenta IV," Kassel, West Germany 1966Rowan Gallery, London (also 1973) 1971"British Painting and Sculpture,1960-61," National Gallery 1967Kasmin Gallery, London (also 1969,1977) of Art,Washington, D.C. 1968Robert Elkon Gallery, New York (also 1977) 1975"The Condition of Sculpture,"Arts Council of GreatBritain, 1969Leeds City Art Gallery (Gregory Fellow Exhibition): Leslie HaywardGallery, London WaddingtonPrints, Ltd., London 1976"The Biennale of Sydney,"Art Gallery of NewSouth Wales, 1972"Venice Biennale," Venice Sydney 1973Hamburg Kunstverein, Bochum, West Germany; Serpentine Gallery,London: Waddington Gallery, London: Hester van 1979"Contemporary Sculpture," The Museum of ModernArt, RoyenGallery, London NewYork 1976Galerie Wintersberger, Cologne 1980"Drawings by ThreeArtists," Betty Cuningham Gallery, 1978Retrospective Exhibition, Fruit Market Gallery, Edinburgh NewYork: "Contemporary British Painting and Sculpture," (sponsoredby the BritishArts Council): Sable-Castelli Museumof ModernArt, Tokyo; "The International Gallery,Toronto SculptureConference," Washington, D.C. William Tucker.The Rim, first drawing. (1979-80). Charcoal, 11'1 Va" x 1/4" 14'10 (338.5 x 452.8 cm). The Museum of Modern Art, New York. The Louis and Bessie Adler Foundation Fund, Seymour M. Klein, President.

William Tucker.Arc with Lintel. (1978). Charcoal, 8'8%" x 29'11" (265.8 x 911.9 cm). Robert Elkon Gallery, New York 7/8" CHECKLISTOF THE EXHIBITION wash,and enamel,30 x 22"(76.2 x 55.9cm). oredpaper, 31% x 22 (80.0x 58.1cm). The CollectionThomas S. Schultz,M.D., Boston Museumof ModernArt, New York. Gift of Mrs. In the listingsbelow, dates enclosedin paren FrankY. Larkin thesesdo not appearon the worksthem Untitled (Skull). 1980.Pen and ink, brush, selves.Sheet dimensions are givenin inches ink wash,and enamelon gessoground, 1214 x Untitled (No. 007-78).1978. Acrylic and and centimeters,height preceding width. 11%"(31.1 x 29.8cm). David McKee Gallery, gessoon coloredpaper, 2314 x 3114"(59.0 x Depthis also includedwhere relevant. Unless NewYork 80.0cm). Salander-O'Reilly Galleries, New York otherwisenoted all worksare on whitepaper. Untitled (Skull). 1980.Pen and ink, brush, Untitled (No. 008-78).1978. Acrylic, 31 x JAKE BERTHOT ink wash,and enamelon gessoground, 1114 x 2214"(78.7 x 57.1cm). Salander-O'Reilly Gal Skull No. 3. (1977).Oil crayon, brush and 11%"(28.6 x 29.8cm). Collection Lois E. leries,New York enamelon gessoground, 30 x 221/2"(76.2 x Dickson,New Jersey 57.2cm). Collection Mr. and Mrs.S. I. Untitled (No. 017-78).1978. Acrylic and Newhouse,Jr., New York Untitled (Skull). 1980.Graphite, pen and ink, gesso,22% x 29%"(57.8 x 75.5cm). Meredith brush,ink wash,and enamelon gessoground, Longand Company,Houston Skull No. 4. (1977).Oil crayon, brush and 6%x 5%"(16.7 x 13.7cm). The Museum of enamelon gessoground, 30 x 22/2"(76.2 x ModernArt, New York. The Louis and Bessie Untitled (No. 014-79).1979. Acrylic and 57.2cm). Collection Mr. and Mrs.S. I. AdlerFoundation Fund, Seymour M. Klein, watercolor,29% x 22%"(75.9 x 57.8cm). Newhouse,Jr., New York President MeredithLong and Company,Houston

Skull No. 5. (1977).Oil crayon, brush and Untitled (Skull). 1980.Pen and ink, brush, Untitled (No.A004-80). 1980.Acrylic, enamelon gessoground, 30 x 22/2"(76.2 x ink wash,and enamelon gessoground, 5% x watercolor,and crayon,29% x 22%"(75.5 x 3/4" 57.2cm). Collection Mr. and Mrs.S. I. 4 (14.6x 12.0cm). Collection of the artist 57.8cm). Meredith Long and Company, Newhouse,Jr., New York Houston Untitled (Skull). 1980.Pen and ink, brush, Untitled (No.A015-80). 1980. Acrylic, 3014 x Skull No. 7. (1977).Oil crayon, brush, ink ink wash,and enamelon gessoground, 614 x 2314"(76.5 x 59.0cm). Douglas Drake Gallery, wash,and enamelon gessoground, 30 x 221/2" 514"(15.5 x 14.0cm). David McKee Gallery, KansasCity, Kansas (76.2x 57.2cm). Collection Mr. and Mrs.S. I. NewYork Newhouse,Jr., New York Untitled (No.A018-80). 1980. Acrylic, 21% x Untitled (Skull). 1980.Pen and ink, brush, 29%"(55.6 x 75.9cm). Douglas Drake Gallery, Skull Group No. II: Drawing 1.1979. ink wash,and enamelon gessoground, 6 x KansasCity, Kansas Graphite,brush, ink wash,enamel, and oil 614"(15.2 x 15.5cm). David McKee Gallery, crayonon gessoground, 30 x 22%"(76.2 x 57.4 NewYork cm).Private collection, London Untitled (No.A021-80). 1980. Acrylic, 27% x 2714"(70.8 x 69.9cm). Douglas Drake Gallery, Untitled (Skull). (1980).Pen and ink, brush, KansasCity, Kansas Skull Group No. II: Drawing II. 1979. ink wash,and enamelon gessoground, 5% x Graphite,brush, ink wash,and enamelon 5%"(14.5 x 13.6cm). David McKee Gallery, Untitled (No.A043-80). 1980.Acrylic and gessoground, 30 x 2214"(76.2 x 56.5cm). Col NewYork crayon,30% x 22%"(76.5 x 57.5cm). Meredith lectionJohn Walker, London Longand Company,Houston DAN CHRISTENSEN Untitled (Skull). 1979.Pastel, brush, ink Untitled (No. 022-77).1977. Acrylic, water- Untitled (No.A046-80). (1980).Acrylic, 22% 5/a5/8" wash,and enamel,30 x 22" (76.2x 56.0cm). color,and gesso,26 x 16 (67.6x 42.2cm). x 30%"(57.8 x 76.5cm). Meredith Long and CollectionThomas S. Schultz,M.D., Boston MeredithLong and Company,Houston Company,Houston

Untitled (Skull). 1979.Pastel, brush, ink Untitled (No. 003-78).1978. Acrylic on col Untitled (No.A047-80). 1980.Acrylic, 22% x 3014"(57.2 x 76.8cm). Meredith Long and x 22.9x 17.8cm). Blum/Helman Gallery, New York Diptych: TwoViews from the Empire State Company,Houston Building. (1980). Pastelonplastic vellum, 47x 3/" F.S.No. 4.1980. Epoxyon p aper, 23/ x18 x 8 37/" each (119.4x 95.2cm each). TheMuseum ALAN COTE (59.1x 45.7x 22.2cm). Hansen Fuller Goldeen of ModernArt, New York. Gift of LilyvA. Enclose. 1979.Charcoal, 41/ x 29%"(105.4 x Gallery,San Francisco Auchincloss 75.5cm). Betty Cuningham Gallery, New York F. S. No. 5.1980.Epoxy on paper,19/ x 19x 7" Newark Composite. (1980).Pastel, 59 x 48" Constructing a Corner. 1979.Charcoal, 41/ x (49.5x 48.2x 17.8cm). Blum/Helman Gallery, (149.8x 121.9cm). Brooke Alexander, Inc.. 29V"(105.4 x 75.5cm). Betty Cuningham Gal NewYork NewYork lery,New York F.S.No. 6.1980.Epoxy on paper, 19 x 15 x 7" (48.2 VerrazanoComposite I. (1980).Oil crayon on LightNear a Corner. 1979.Charcoal, 4314 x x 38.1x17.8cm). Blum/Helman Gallery, NewYork compositionboard, 64 x 48"(162.5 x 121.9cm). 2914"(109.9 x 75.0cm). Betty Cuningham Gal BrookeAlexander, Inc., New York lery,New York F. S. No. 7.1980.Epoxy on paper,30 x 15x 12" (76.2x 38.1x 30.5cm). Blum/Helman Gallery, Verrazano Composite II. (1980).Charcoal, BrightLight. 1980. Charcoal, 50 x 3814"(127.0 x NewYork 58%x 48"(149.2 x 121.9cm). Brooke Alexander. 97.8cm). Betty Cuningham Gallery, New York Inc., NewYork F.S. No. 8.1980.Epoxy on paper,34 x 35/ x 11" Echo. 1980.Charcoal, 50 x 3814"(127.0 x 97.8 (86.3x 90.2x 27.9cm). Hansen Fuller Goldeen Color Pastel: Night Jet III—Verrazano cm).Betty Cuningham Gallery, New York Gallery,San Francisco Composite I. (1979).Pastel on darkpaper, 17/ x 14"(43.8 x 35.6cm). Brooke Alexander, Inc., Inner Direction. 1980.Charcoal, 50 x 38'/2" DomeSeries No. 23.1980.Epoxy on paper, 35 x NewYork (127.0x97.8cm). Betty Cuningham Gallery, New 46x 2" (88.8x 106.9x 5.1cm). Hansen Fuller Gol York deenGallery San Francisco Color Pastel: Night Jet IV-Boston Com posite. (1980).Pastel on darkpaper, 17/ x 14" LeftWind. 1980.Charcoal, 41'/2 x 29%"(105.4 x DomeSeries No. 24.1980.Epoxy on paper, 46 x (43.8x 35.6cm). Brooke Alexander, Inc., 75.5cm). Betty Cuningham Gallery, New York 35x 1"(106.9 x 88.8x 2.6cm). Hansen Fuller Gol NewYork deenGallery, San Francisco Shape of a Form. 1980.Charcoal, 50 x 38/2" Color Pastel: Night Jet V—Newark (127.0x97.8cm).BettyCuninghamGallery,New DomeSeries No. 25.1980.Epoxy onpaper, 35 x Composite. (1980).Pastel on dark paper, 3Z" York 46x 1 (89.0x 106.9x 4.4cm). Blum/Helman 17/ x 14"(44.4 x 35.6cm). Brooke Alexander, Gallery,New York Inc.,New York Three Sounds. 1980.Charcoal, 40x2614" (101.7 x 66.6cm). Betty Cuningham Gallery, New York Dome Series No. 29.1980.Epoxy on paper, Color Pastel: Night Jet Vl-Verrazano 46x 35x 2" (106.9x 89.0x 5.1cm). Collection Composite II. (1980).Pastel on dark paper, TOMHOLLAND of the artist 17x 14/" (43.2x 36.2cm). Brooke Alexander, F. S. No. 1.1980.Epoxy on paper,24/ x 10x 9" Inc.,NewYork (61.6x 25.4x 22.9cm). Hansen Fuller Goldeen DomeSeries No. 31.1980.Epoxy onpaper, 46 x Gallery,San Francisco 35x 3/" (106.9x 88.8x 8.8cm). Blum/Helman ColorPastel: Queens Lightsat Night. (1980). Gallery,New York Pastelon darkpaper, 17 x 14/" (43.2x 36.8cm). F.S.No. 2.1980.Epoxy on paper, 20/ x 15x9/2" BrookeAlexander, Inc.. New York (52.7x 38.1x 24.1cm). Hansen Fuller Goldeen YVONNE JACQUETTE Gallery,San Francisco Aerial Viewof 34th Street. (1979).Pastel on ColorPastehQueensLightsatNight. (1980). plasticvellum, 37% x 74"(95.9 x 188.0cm). Col Pastelon darkpaper, 17 x 14/" (43.2x 36.8cm). F.S. No. 3.1980.Epoxy onpaper, 22x9x7" (55.9 lectionMalcolm Goldstein, New York BrookeAlexander, Inc., New York KEN KIFF Bainbow and Boat. (1978).Watercolor, 7% x Watercolor,stamp and ink, and Jewels,10% x Sequence 3: Talkingwith a Psychoanalyst: 10%"(18.4x26.7 cm).Private collection, London 10%"(26.0x26.0 cm). CollectionPatricia Hamil A Crack in the Yellow.(1971). Acrylic, IIV2XI5" ton, NewYork (29.2x 38.1cm). Private collection, London The Island. (1979).Watercolor, 8 x 6%"(20.3 x 15.9cm). NicolaJacobs Gallery,London Study for Symphony forFelicia. (1978).Pas Sequence 68: VisitingHell in a Boat. (1973). tel, watercolor,graphite, beads, and thread, Acrylic,22%x 29" (57.1x 73.6cm). NicolaJacobs Two Heads and the Sea. (1979).Watercolor, 22%x 42" (57.2x 106.7cm). CollectionFelicia Gallery,London 5%x 7" (13.3x 17.8cm). NicolaJacobs Gallery, Sachs, NewYork London Sequence 110: Man and Street. (1975). Study for Norfolk Landscape. (1978).Water- Acrylic,28% x 22%"(73.0 x 58.1cm). Nicola Drawing a Curtain and Tortoise. (1980). color,8%xl9" (22.2x48.2cm). CollectionDonna Jacobs Gallery,London Watercolor,6% x 7" (15.9x 17.8cm). Nicola Sands, Pennsylvania Jacobs Gallery,London Sequence 113: Talking with a Psycho Untitled. (1979).Watercolor and graphite, 11% analyst: Night Sky. (1975-80).Acrylic, 30%x Head, House and Hill. (1980).Watercolor, 6% x 19%"(28.2 x 50.5 cm). Collectionof the artist 53V2"(78.1 x 135.9cm). CollectionEdward Wolf, x 4%" (15.9x 12.1cm). Nicola Jacobs Gallery, Esq., London London Untitled. (1980).Oil, watercolor, gouache, papier-mache, graphite, and glitter, 22 x 70" Sequence 116: Broken Jug. (1975).Acrylic, PinkHead. (1980).Watercolor, 6%x4%"(16.5x (59.8x 170.8cm). Hamilton Gallery of Contem 23%x 18V4"(59.0 x 47.0 cm). Nicola Jacobs Gal 12.1cm). NicolaJacobs Gallery,London porary Art, NewYork lery, London JOAN SNYDER Study for FMSWNL. (1980).Paint on litho Sequence 125: Large Face. (1976).Acrylic, Double Symphony. (1976).Oil crayon, ink, graphic proof in two sections, 24x34%" (61.0x 31%x 22%"(79.4 x 56.5 cm). Nicola Jacobs Gal graphite, and gesso on cardboard, 16x 31%" 85.7 cm). Collectionof the artist lery, London (40.6x 81.0cm). Collectionof the artist Study for FMSWNL. (1980).Paint on litho Sequence 127: The Ascent. (1976-80). Untitled. (1976).Oil, pastel, crayon, colored graphic proof, 24x 36%"(60.9 x 92.7 cm). Collec Acrylic,47x 31"(119.4 x 78.7cm). NicolaJacobs pencil, and graphite, 22%x 30" (57.2x 76.2cm). tion of the artist Gallery,London Hamilton Gallery of ContemporaryArt, New York Study for FMSWNL. (1980).Paint on litho Sequence 135:Night Clouds. (1977).Acrylic, graphic proof, 25%x 37%"(64.8 x 94.6 cm). Col 22%x 28%"(57.8x 73.0cm). NicolaJacobs Gal Beginning Study for Symphony for lection of the artist lery, London Felicia. (1978).Watercolor and graphite, 10%x 19%"(26.0 x 50.2 cm). Collectionof the artist WILLIAM TUCKER Sequence 138: Breaking a Barrier. (1977). Arc with Lintel. (1978).Charcoal, 8'8%"x Acrylic,19% x 28%"(48.9 x 73.0 cm). Nicola Watercoior Study for Symphony for 29'11"(265.8 x 911.9cm). Robert Elkon Gallery, Jacobs Gallery,London Felicia. (1978).Pastel, watercolor, graphite, NewYork and beads, 10%x 19%"(26.0 x 50.2 cm). Collec Sequence 162: The Epileptic. (1980).Acrylic, tion of the artist The Rim, first drawing. (1979-80).Charcoal, 22%x 28%"(57.5 x 73.3cm). NicolaJacobs Gal 1T1%"x 14'10%" (338.5 x 452.8cm). The Museum lery, London Detail for Symphony for Felicia. (1978). of ModernArt, NewYork. The Louis and Bessie Acrylic,watercolor, and beads, 10%x9%" (26.Ox AdlerFoundation Fund, Seymour M. Klein, Sequence 167: Giraffe and People. (1980). 24.8 cm). Collectionof the artist President Acrylic,29x22%" (73.6x57.1 cm). NicolaJacobs Gallery,London Detail for Symphony for Felicia. (1978). BIBLIOGRAPHY Brandeis University,Waltham, The Albright-KnoxGallery, Buffalo, New Massachusetts. Catalog, 1977. York.Catalog, 1970.Plates 4 and 67. JAKE BERTHOT Kasher,Steven. "Jake Berthot: Recent Work." Channin, Richard. "NewDirections in Ashton,Dore. "YoungAbstract Painters: Right Artforum 17 (September1978): 68-73. Painterly Abstraction."Art International On!"Arts 44 (February1970): 34. Ashton, Dore. "DavidMcKee Gallery, New York, 14 (September1970): 63. Davis,Douglas. "TheNew Color Painters." exhibit."Arts 53 (January 1979):2. Mikotajuk, A. "GoldowskyGallery, New York, Newsweek, May 4,1970. Brach, P "DavidMcKee Gallery, New York, exhibit." Arts 45 (March1971): 63. Shirey,David L. "DowntownScene: Heart." exhibit."Art in America 67 (January Pincus-Witten,Robert. "NewYork." Artforum The New York Times, September12, 1979):142. 9 (April1971): 75. Henning,Edward B. "Colorand Field."Art 1970. Maschek,Joseph. "Pictures of Art."Artforum Sharp, Willoughby."Points of View:A Taped 18 (May1979): 35-36. International 15 (May1971): 46-50. Conversationwith Four Artists."Arts 45 Ratcliff, Carter."New York Letter: Spring, Part III."Art International 15 (Summer1971): (December1970): 41-42. DAN CHRISTENSEN Ashton, Dore. "NewYork Commentary: Rose, B. "GalleryWithout Walls."Art in 97-99. Downtown,Uptown, All around the Town," America 56 (March1968): 71. Siegel, J. "AroundBamett Newman."Art Studio International 181(January 1971): Wasserman,Emily. "Corcoran Biennial, News 70 (October1971): 42. Elderfield,J. "AbstractPainting in the 70s (an 39. CorcoranGallery, Washington D.C." Baker,Kenneth. "O.K.Harris Gallery,New York, Artforum 7 (April1969): 71-74. exhibition at the Boston Museumof Fine exhibit."Artforum 9 (February1971): 81. Glueck,Grace. "Likea Beginning."Art in Arts)."Art International 16 (Summer Domingo,Willis. "O.K. Harris Gallery,New America 57 (May/June1969): 118-19. 1972):93. York,exhibit." Arts 45 (February1971): 55. "Painting —Dervish Loops." Time, May 30, Kramer,Hilton. The New York Times, Ratcliff, C. "O.K.Harris Gallery,New York, 1969,p. 64. October 28,1972,p. 23. exhibit."Art International 15 February "Artin NewYork, Midtown, Dan Christensen." Wilkin,Karen. "Dan Christensen:Recent Paintings." Art International 18 (Summer 1971):69. Time, June 6,1969,p. 2. Ashton, Dore. "Jake Berthot Paints Quietness." Gruen,John. "TheWhoosh is the Work."New 1974):57-58. Arts 46 (November1971): 32-35. York Magazine, June 9,1969,p. 57. Baker,K. "EmmerichUptown Gallery: New York Goldberg,Lenore. "ARenewal of Possibilities." Davis, Douglas. "Thisis the Loose-Paint Exhibit."Art in America 62 (September Arts 47 (March1973): 34-35. Generation."The National Observer, 1974):107. Beret, Chantal. "Jake Berthot: 8e Biennale." August 4,1969,p. 20. Bell, Jane. "DanChristensen." Arts 49 (May Artpress, Paris, September 1973. The Solomon R. GuggenheimMuseum, New 1975):7. Ashton, Dore. "Jake Berthot."Arts 48 (June York.Nine Young Theodoran Awards, Marshall, W.Neil. "Dan Christensen."Arts 49 1974):33-34. "DanChristensen." Summer 1969. (June1975): 21. Plagens, Peter. "Peter and the Pressure Aldrich,Larry. "Young Lyrical Painters." Art Cooker."Artfor um 13 (June1974): 86-87. in America 57 (November/December ALAN COTE LocksleyShea Gallery,Minneapolis, 1969):104-13. "OnExhibition." Studio International 179 Minnesota. "Jake Berthot." Catalog, 1974. Ratcliff, Carter."The New Informalists." Art (January 1970):39. Hunter,Sam. "CriticalPerspectives in American News 68 (February1970): 46-50. Staber, M. "Briefaus Kolnund Dusseldorf:drei Art."Venice Biennale, 1976.Catalog. Colt, Priscilla. "SomeRecent Acquisitionsof Maler."Art International 14 (March Ashton, Dore. "Eight Abstract Painters." ContemporaryPainting." The Dayton Art 1970):60. Institute of ContemporaryArt, Institute Bulletin 2 28 (March1970): 14. Collin,Jane. "Reviewsand Previews:Cote at Philadelphia, Pennsylvania. Davis, Douglas. "TheNew Color Painters." Reese Paley."Art News 69 (December Karson, Robin. "Silence and Slow Time." Newsweek, May 4,1970,pp. 84-85. 1970):14-16. Mount HolyokeCollege Art Museum,South Plagens, P."Exhibition at NicholasWilder Sharp, Willoughby."Paints of View,a Taped Hadley,Massachusetts, 1977. Gallery."Artforum 8 (May1970): 82. Conversationwith Four Painters." Arts 45 Saulnier,Bonnie. "FromWomen's Eyes." Colt, Priscilla. Color and Field 1890-1970. (December1970/January 1971): 41-42. Domingo,Willis. "Galleries: Exhibition at Plagens, Peter. "LosAngeles: Exhibition at YVONNE JACQUETTE Reese Palley."Arts 45 (February1971): NicholasWilder Gallery." Artforum 8 Glueck,G. "Fischbach Gallery,New York, 55-57. (December1969): 75. exhibit."Art in America 59 (May1971): Henry,Gerrit. "NewYork Letter: Cote at Reese Pincus-Witten,Robert. "NewYork: Exhibition 132. Palley."Art International 15 (February at Robert Elkon Gallery."Artforum 8 Henry,G. "Real Thing."Art Internationa] 16 1971):81. (December1970): 83. (Summer1972): 90. Pincus-Witten,Robert. "NewYork: Alan Cote at Ratcliff, Carter. "NewYork: Exhibition at Alloway,Lawrence. "Review." The Nation, Reese Palley."Artforum 9 (March1971): Robert Elkon Gallery."Art International November6,1972. 62. 14 (Summer1970): 144. Kingsley,April. "DirectRepresentation." Tucker,Marcia. The Structure of Color. The Richardson, Brenda. "Bay Area Survey: Artforum 10 (November1972): 28. Whitney Museumof AmericanArt, New Exhibition at Hansen Fuller Gallery."Arts Kramer.Hilton. "ExtremeCross-Purposes." York,1971. 45 (November1970): 54. The New York Times, December10,1972. Karin.Thomas. Junst Proxis Heute-Dumont, Tarshis,Jerome. "San Francisco: Exhibitionat Schjeldahl, Peter. "Realism—A Retreat to the Cologne.West Germany."Statement on Hansen Fuller Gallery."Artforum 9 Fundamentals."The New York Times, Painting" by Alan Cote, 1972,p. 26. (December1970): 84. December24,1972. Gilbert-Rolfe,Jeremy. "Review." Artforum 12 Gollin,Jane. "Reviewsand previews—Tim Nochlin,Linda. "SomeWomen Realists." Arts (January 1974):74. Holland:Exhibition at LawrenceRubin 48 (February1974): 46-51. Kingsley,April. "AReturn to Abstract Gallery."Art News 71 (December1972): 12. Perlmutter,E. F."Brooke Alexander Gallery, Impressionism?"Soho Weekly News. Siegel, Jeanne. "Reviewsand previews— Ibm NewYork, exhibit." Art News 74 (January December4,1975. Holland:Exhibition at LawrenceRubin 1975):107. Rickey,Carrie. "Fashion/Style/Custom:Alan Gallery."Art News 71 (December1972): 12. Lippard, Lucy."A New Landscape Art."From Cote and David Diao."Artforum 17 Whittet, G."London:Exhibition at Felicity the Center, Feminist Essays on (October1978): 30-34. Samuel Gallery."Art and Artists 8 (June Women's Art (NewYork: Dutton, 1976). 1973):42. Reprinted,Ms., April1977. TOM HOLLAND Andre,Michael. "Reviewsand previews—Tom Russell,John. "WomenArtists with Growing Martin, Fred. "TomHolland, the Byron Burford Holland:Exhibition at KnoedlerGallery." Authority."The New York Times, Paintings, RichmondArt Center." Art News 72 (December1973): 90. November14,1976. Artforum 1 (August1962): 35. King,Mary. "St. Louis—Tbm Holland: Goldman,Judith. "TbuchingMoonlight." Art Leider,Philip. "San Francisco: The Exhibition at GreenbergGallery." Arts 49 News 77 (November1978). Construction as an Object of Illusion." (November1974): 27. Ratcliff, Carter."Contemporary American Artforum 1 (October1962): 40. Smith, Griffin."Reviews and previews— Painting." Decade, the Magazine of Breckenridge,Betty. "San Francisco:12th Miami:Exhibition at CorcoranGallery." Contemporary Art and Culture, Annual Oil and Sculpture, RichmondArt Art News 74 (January 1975):82. January 1979. Center."Artforum 1 (February1963): 45. Albright,Thomas. "San Francisco Kinetic Kramer,Hilton. "Art:Yvonne Jacquette." The Magloff,Joanna C. "San Francisco:Tom Painting: Exhibition at Hansen Fuller New York Times, April27,1979. Holland, Exhibition at Lanyon Gallery." Gallery."Art News 75 (February1976): Yeh,Susan Fillin. "YvonneJacquette." Arts 53 Artforum 1 (May1963): p. 12. 77-78. (May1979): 10. Polley,Elizabeth M. "San Francisco:Tom Cavaliere, Barbara/Exhibition at DrollKolbert Schjeldahl, Peter. "Exhibitionat Fischbach Holland, Exhibition at Lanyon Gallery." Gallery."Arts 53 (December1978): 24. Gallery."Art International 13 (November Artforum 2 (May1964): 46. Bell, Jane. "NewYork Reviews: Tbm Holland: 1969):70. "2D-3Dat RichmondArt Exhibition at Droll Kolbert Gallery."Art Elliot, David. "Realismis in a. . ."Chicago Center."Artforum 4 (June1966): 49-50. News 78 (January 1979):157. Sun Times, December2,1979. Gold,Barbara. "CorcoranBiennial: New Albright,Thomas. "TheNation: San Francisco: Artner,Alan G. "Realismwith a Personal Sensibility in Washington."Arts 43 (April Star Streaks: Exhibition at San Francisco Touch."Chicago Tribune, January 4, 1969):30. Art Institute/Art News 78 (April1979): 101. 1980. KEN KIFF Elderfield,John. "Grids."Artforum 10 (May Ammann,J. C. "AnthonyCaro und die Junge Foss, Michael, ed. Folk Tales of the British 1972):53. englische skulptur." Werk 54 (October Isles. Illustrated by KenKiff. (London: "TheWhitney Annual."Art 1967):644. Macmillan London,Ltd., 1977) in America 60 (May-June1972): 27, 29. Kudielka, R. "Londonim herbst." Kunstwerk Hyman,Timothy. Narrative Paintings, Kingsley,April. "WomenChoose Women." 21 (October1967): 46. Figurative Art of Two Generations . Artforum 11(March 1973): 73. Melville,R. "YoungConsolidators: the Interim: ArnolfiniGallery, London, 1979, sponsored Davis, Douglas. "ArtWithout Limits." show at Whitechapel."Architectural by the Arts Councilof Great Britain. Newsweek, December24,1973, pp. 68-74. Review 144(July 1968): 64. "KenKiff." Artscribe "AmericanArt on the Loose Pinney,M. "Exhibitionat KasminGallery." Magazine 17 (May1979). Again."Horizon USA , February 1974,pp. Arts Canada 26 (August1969): 44. 55 NicolaJacobs Gallery,London. "KenKiff, 53-58. Russell,J. "NewNames in London:A to Z."Art Paintings and Drawings."February 12— Baker,K. "Institute of ContemporaryArt, in America 58 (September1970): 99. March 8,1980.Catalog. Boston, exhibit."Art in America 63 Packer, W."Kasmin Gallery, London, exhibit." Feaver,William. "Review." Vogue. January (March1975): 105. Art and Artists 5 (October1970): 34. 1980. Iskin, Ruth. "Tbwarda Feminist Perspective: Burr,J. "LondonGalleries: Kasmin Art Gallery, London Observer, February 17,1980. The Art of Joan Snyder."Chrysalis 1 exhibit." Apollo 92 (November1970): 385. Mason, Michael. "In Pursuit of Visual (1976):101-15. Laurens, Henri. "Exhibitionat the Hayward." Rhymes."Times Literary Supplement, Herrera, Hayden. "CarlSolway Gallery,New Studio 182(July 1971): 24-25. February 22,1980. York,exhibit." Art in America (May Alloway,Lawrence. "Caro's Art —Tucker's Crichton,Fenella. Art and Artists 14 (April 1976):103-04. Choice."Artforum 14 (October1975): 1980):45. Ratcliff, C. "Paint Thickens."Artforum 14 65-71. Denvir,B. "Exhibitionin London."Art (June1976): 47. Chapman, Hilary."Condition of Sculpture." International 14 (April1970): 60. Webster,Sally. "Joan Snyder,Fury and Fugue: Arts 50 (November1975): 68-69. Morgan, S. "NicolaJacobs Gallery,London, Politics of the Inside." The Feminist Art Elsen, Albert. "Reviewof WilliamTbcker's exhibit."Artforum 18 (April1980): 86. Journal 5 (Summer1976). Early ModernSculpture." Art Journal 35 Bell, Jane. "Drawing,Now, Then and Again." (Winter1976): 136-38. JOAN SNYDER New York Arts Journal 7 (November- Kramer,Hilton. The New %rk Times, April Baker, K. "Bykert Gallery,New York, exhibit." December1977): 13-14. 8, 1977. Artforum 9 (April1971): 81. Welish,M. "HamiltonGallery, New York, Baker,Kenneth. "WilliamTbcker; Meaning vs. Robbin,Tbny. "A Protean Sensibility."Arts 45 exhibit."Art in America 66 (July1978): Matter."Art in America 65 (May1971): 28-30. 114. (November/December1977): 102-03. Tbcker,Marcia. "TheAnatomy of a Stroke: The McDonald,R. "Images Public and Private: San Spalding. "WilliamTbcker Sculptures Recent Paintings of Joan Snyder." Francisco Art Institute exhibit." Artweek (exhibit)."Connoisseur 196(November Artforum 9 (May1971): 42-45. 10 (December8,1979): 4. 1977):233. Stiles, K. "MichaelWalls Gallery,San "Modernism,Freedom, Sculpture/ Art Francisco, exhibit." Artforum 10 WILLIAM TUCKER Journal 37 (Winter1977-78): 153-56. (November1971): 87. Baro, G. "Britain'sYoung Sculptors." Arts 40 Kramer,Hilton. "TtiumphantNew Work by Two "Portraits of YoungArtists." Newsweek, (December1965): 14. Artists." The New Ybrk Times, Sunday, February 7,1972,p. 79. Dienst, R. G. "Dreiaspekte der neuen May 25,1979. Bowling,F. "Revisions: Color and Recent englishchen plastik." Kunstwerk 19 Ashton, Dore. "WilliamTbcker's Gyre." Arts 53 Painting/ Arts 46 (March1972): 47-50. (March1966): 11-15. (June1979): 128-29. Hughes,Robert. "Mythsof Sensibility."Time, Jouffroy,A. "Artde demi brume a Londres." Berlind, R. "ElkonGallery, New York, exhibit." March 20,1972,pp. 72-73. Oeil 149(May 1967): 37-38. Art in America 67 (October1979): 122. Baker,Kenneth. Christian Science Monitor, Lucie-Smith,E. "WilliamTbcker and Pol Bury April 20,1972,p. 8. at Kasmin.''Studio 173(May 1967): 254. Acknowledgments

Thiscatalog is publishedon the occasionof the exhibition"New Goldstein,Mr. and Mrs.S. I. Newhouse,Jr., Dr. Felicia Sachs, Workon Paper1" at TheMuseum of ModernArt. As author of the Ms.Donna Sands, Dr. Thomas S. Schultz,Mr. John Walker,Mr. catalogand directorof the exhibition,1 am obligedto many EdwardWolf, and three lenderswho preferredto remain individualsfor their generosityand assistancein bringingthis anonymous. projectto fruition.Chief among these are the eight artists in the exhibitionand their respectivedealers: Jake Berthot and the At TheMuseum of ModernArt, I am particularlyindebted to DavidMcKee Gallery, New York; Dan Christensen and the BeatriceKernan, Curatorial Assistant in the Departmentof Salander-O'ReillyGalleries, New York, Meredith Long and Drawings,and to my assistant,Diane Gurien, for their Company,Houston, and the DouglasDrake Gallery, Kansas City, coordinationof mattersrelating to the exhibitionand the Kansas:Alan Cote and the BettyCuningham Gallery, New York; publicationrespectively. Others to whomspecial thanks are due tbm Hollandand the Blum/HelmanGallery, New York and the include:Elizabeth Carpenter of the Registrar'sDepartment; Jerry HansenFuller Goldeen Gallery, San Francisco;Yvonne Jacquette Neunerof the Departmentof Operations;Antoinette King, Senior and BrookeAlexander, Inc., New York; Ken Kiff and the Nicola PaperConservator; Susan Weiley, who edited this publication; JacobsGallery, London; Joan Snyderand the HamiltonGallery of and KeithDavis, who designed it. Finally,The Museum of ContemporaryArt, New York; and WilliamTucker and the Robert ModernArt is gratefulfor generoussupport from the National ElkonGallery, New York. Special thanks are also due to the other Endowmentfor the Arts,which made this exhibitionand lendersto the exhibition:Ms. Lois E. Dickson,Mr. Malcolm publicationpossible. j.E.

ISBN87070-496-6