Word: knoedlers
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...that it entails, and he does nothing lightly. When his work shifts, the shift means something. One sees this happening in the current show of Diebenkorn's work in progress, a group of 50 drawings, mostly in gouache and crayon, that went on view last week at Knoedler in New York...
From most of the drawings at Knoedler's, the image of landscape has receded. It is displaced-though not wholly abolished-by a curious motif Diebenkorn refers to as his "ace of spades," and which does resemble the black pip on that card pushed and pulled out of shape. It is Diebenkorn's way of breaking up the remote geometry of the Ocean Parks; one no longer sees a distant "view" of a whole terrain, but moves closer, toward this lobed and writhing emblem which suggests either body or still life: the curves of a thigh, a buttock...
...rhythm acquires a detached mellowness, a quality of reverie; this wandering of the hand is constantly checked and inflected by the vestiges of a grid, the angled cuts of straight drawing that survive from the Ocean Parks and are, in fact, a permanent feature of his style. Consequently, the Knoedler exhibition as a whole presents a display of control rare incurrent painting...
Group shows range from the very far-out (drawings by Robert Barry and Germany's Hanne Darboven, among others, at Leo Castelli, 4 E. 77th St.) through "classical" modernism (Jules Olitski and other color-field artists at Knoedler Contemporary Art (19 E. 70th St.) to a diverting collection of views of New York by American artists (John Marin, Reginald Marsh, Guy Pène du Bois at the Hammer Galleries, 51 E. 57th...
After it closes in Washington Sept. 9, the show will travel to New York's Knoedler gallery, which, as it happens, is partly owned by Hammer, then to Detroit, Los Angeles and Houston. If it is not comprehensive, it is a superb sampling-a cabinet des arts that Catherine herself might have delighted...