Theoretical Analysis of the Intermedia Art Form by René Berger, and: The Art of Performance by A. Cirici (review)

80 Books He recommends the use of warm reds and yellows disregarding cool versions of them that painters have found valuable in their pictures. I find his recommendation a limitation in his own paintings reproduced in color. His perspective diagram (p. 35) is improperly drawn since geometrical perspective requires that common edges be depicted as converging to a single vanishing point. His recommended use of shade and shadow (p. 51) indicates that shadows are to have the same value as the shade on the objects casting them, whereas the shadows should become lighter as they recede from the object to produce a better illusion of depth. The stated purpose of Faragasso's book is 'to teach you to understand color and to use that understanding in a traditional, representational manner'. More specifically, the approach reflects the methods advocated by Frank J. Reilly, who was an influential teacher in Faragasso's early career while a student at the Art Student's League in New York City. Like Sovek , Faragasso presents a step-by-step method, but employs devices that are best suited for oils. The sections on color and value are thorough, and, from a theoretical point of view, I found them quite enlightening. The 21 pages of color and value scale diagrams require disciplined attention, especially since one is then confronted with numerous technical descriptions and reproductions of palettes recommended for producing flesh tones and consistency of value in a painting. The final two sections are on figure and portrait painting, amply illustrated with 36 reproductions showing the development in stages of two paintings. Unfortunately, the paintings are, in my opinion, rather uninspiring in terms of overall composition, pose and color. Yet, beginners who are interested in depicting a 3dimensional likeness of a figure in brown tonalities and in a relatively static composition will find these sections appealing. Both authors favor subjects that are ordinary, rather than glamorous, in order to encourage beginners to learn tested techniques of painting rather than succumb to superficial fashions. They also encourage one to work from the general to the specific, so that a painting will more likely possess a good structure and a harmonious balance of colors and values. However, I found that their paintings reproduced in their books lack the excitement and feeling that lends significance to the deliberate compositional structure that they recommend. A Century of Ceramics in the United States: 1878-1978. Exh. cat. Everson Museum of Art. Garth Clark et al. E. P. Dutton, New York, 1979. 371 pp., illus. Reviewed by Susan Montgomery. This is the first comprehensive document tracing the development in the U.S.A. of artists' studio ceramics. Art historian Clark proceeds decade by decade from late 19thcentury china painting and its strong European influence, through the 19S0s, when a group of artists in California, lead by Peter Voulkos, combined Abstract Expressionism with the traditional Japanese clay aesthetic and transformed the character of ceramics in the U.S.A. I agree with the view that ceramicists, especially on the Pacific coast ofthe U.S.A., have led the world in the innovative use of clay. The exhibition and catalogue I expect to be criticized for its point of view and its particular selections and omissions, but it is the first significant historical evaluation of the artistic use of clay in the U.S.A .. and, as such, it should not be underestimated. The quantity of information made available in one book staggered me, and it may well prove to be the turning point in terms of acceptance of ceramics as a fine art. The text is organized in 10year segments to provide information on specific events, aesthetic influences, key artists and studios of each decade. Hundreds of black and white photographs are included as well as 40 color plates. A general chronology of exhibitions and of technical landmarks is outlined at the beginning of the text. For each decade, specific references and sources are cited in extensive notes and detailed bibliographies are included. Briefbiographies of each artist indicate the particular characteristics of their pieces. '5 Lloyd St., Watertown, MA 02172, U.S.A. This catalogue will be invaluable for art schools as a reference source...