Art review: Lorser Feitelson at Louis Stern Fine Arts

Lorser Feitelson (1898-1978) was among the most influential painters in mid-20th century L.A., but his reputation has lagged since his death. Perhaps because bright, chromatic abstraction has once again become popular with a generation of younger artists, a show of 15 sophisticated abstract paintings from about the last dozen years of his life feels remarkably fresh.

At Louis Stern Fine Arts, Feitelson’s late paintings play the strict, rectilinear geometry of the mostly square canvases against the fluid curves of their interior drawing. Color is flat. The lines swell and gently undulate, changing thickness as they go.

Sometimes the lines seem to split open to admit narrow color-shapes within them. One result is a sense of nicely mind-bending confusion: When does a line become a shape, and when does the juxtaposition of shapes blossom into the shifting illusion of optical space?

In graphic design, the colloquial term for lines that come together and just barely (or don’t quite) touch is “to kiss.” Feitelson’s sensuous abstract curves likewise possess an inescapably titillating charge. Some Feitelson paintings (although none in this show) harness distinctive color juxtapositions like red and green or orange and blue to create an optical spark. Two small works — many of the rest are 5 feet square — from 1976 even fuse shapes that are phallic and vulval. But the sparks set off in Feitelson’s abstractions are also reminiscent of more generalized ideas of creation, like the one implied between the nearly touching fingers of God and Adam in Michelangelo’s Sistine Chapel.

Hard-edge abstract painting doesn’t often feel literary. (In an insightful catalog essay published with the show, art historian Frances Colpitt discusses Feitelson as an Expressionist painter.) What’s most compelling about the best of these, however, is the way they refuse to let your eye rest anywhere within the painted field. In Feitelson’s strongest work, perceptual pleasure is the ultimate aphrodisiac.

-- Christopher Knight

Louis Stern Fine Arts, 9002 Melrose Ave., West Hollywood, (310) 276-0147, to Dec. 12. Closed Sundays and Mondays. 

Above: "Archimage #2." Credit: copyright Feitelson Arts Foundation, courtesy Louis Stern Fine Arts

Comments

[The Dark Bob]

Before the Ferus Gallery, there was the "Four Abstract Classicists". A landmark exhibition in Los Angeles showing the hard edged, slick abstractions of locals Lorser Feitelson, John McLaughlin, Karl Benjamin and Fredrick Hammersly. Even New York City took notice!! The work was a stark contrast to the messy and deliciously thick abstractions of the east coast.

Lorser and his pals were cool, sleek and clean. LA finally had something to SAY!!! (we'll set Stanton McDonald Wright to the side for a moment). But like everything else back in the 50's, things were moving fast and it would only be a few more years until Kienholz and Foulkes brought the "mess" back (with Robert Irwin maintaining the "cool"). God bless 'em all!!!

Anyway, back to Feitelson. I would imagine Lorser Feitelson's later day abstractions would be hard to write about. The work of his peers, John McLaughlin and Fredrick Hammersly and Karl Benjamin are much easier to wrap up in tidy, neat categories. But Feitelson's commitment to classical composition and his often obvious sexual references have somehow sidelined his contribution. But Mr. Knight, you did a good job of acknowledging these matters. Furthermore, you even went on to suggest Lorser is an "Op" artist of sorts. And that is something often overlooked in his work. He certainly dabbled in color combinations that vibrated and resisted one another...and he often used the "kiss" tension your aptly related to Michelangelo's God and Adam.

I never get tired of revisiting Feitelson's work. Today, the "art world" of Los Angeles, with it's many world class museums, is something Lorser Feitelson could never have imagined. It's time one of these big joints did us all a favor and mount the retrospective Lorser deserves.

Wait, I got it...a show that revisits the "Four Abstract Classicists"...but this time we include all the "out-takes"!! It would be massive...I'll call Kristine McKenna NOW!!!

Meanwhile, the Louis Stern Gallery continues to do an excellent job of honoring our heritage with their historically focused exhibitions and catalogs.

God I love art!!!!!!!and i love LA!!!!!!!!!hahaha I DO!

[Donald Frazell]

"OUR" heritage? None of these people represent 99% of LAs people, let alone California. There wre alrady paitners in Cali like Still, Francis, and later Diebenkorn far better than this pseudo intellectual stuff, thinly sliced pieces of Cezannes apple with no relationship values, only one "concept" at a time for the kiddies so they dont ahve mental overload.

Meanwhile we got artists like Carlos Almaraz, jazz musicians like Eric Dolphy, and photographers like the Westons who were far more advanced than this decorator stuff, making wallpaper for sterile modern homes. Hollywood is about pop and entertainment, not creative art. And this stuff reflects those people, not LA. Not the 12 million who live here, and are bored by such academic nonsense. The Nouvelle Cuisine experience compared to our rich and delicious Latin American gastronomic delights. Nothing beats guacamole and salsa verde on olive oil grilled quesadillas, with layered California wine. This is flavored tofu.
zzzzzzzz

art collegia delenda est

[The Dark Bob]

Mr. Frazzel..."flavored tofu"! hahaha! I hear what you're saying about this work not representing you and many others that live in this giant city. I think you're right. It doesn't. But i also believe an artist is doomed if he or she sets out to represent anyone other than themselves.

And from what i can tell, these slick abstractionist (Feitelson, McLaughlin, Hammersly and Benjamin) were sincere in their effort to make striking paintings based on their knowledge of art.

Each of the "Four Abstract Classicist" was well informed about European, Chinese, African and other global art styles. I know for a fact that Lorser Feitelson was a huge admirer of African and Chinese works.

To me, these are honest works that don't pander to anything other than the artist's own journey. The fact that it doesn't "represent" the population of Los Angeles is neither here nor there. I doubt that was their goal. None of them got rich doing this work. It was a passion and a commitment, not patriotism.

Besides, like Picasso said, "The public is not invited and never will be".

I will say this, you made me awfully hungry for guacamole, salsa verde and oil fried tortillas. I may not know much about food, but i know what i like!!