Bahram Berj Kafai

News paper-Fresno Bee, California

1976, Fresno Bee

By David Hale

Bees Arts Writer

"The Fresno Arts Center has mounted its first competition for member artists, resulting in an exhibition which balances off mostly good if sometimes familiar works by recognized artists with a number of impressive things by lesser-knowns.

It's pretty conservative stuff, really: only a handful at most deal with such concerns of the moment as concept-new materials-information art. But there are a number of inventive, individualistic works and taken altogether, the effect is pretty classy.

As might be expected in a show which offers 148 pieces by nearly as many artists, there is a bewildering variety of things to see.

Fortunately, there is enough substance and beauty--not exactly commonplace in these group grab-bags--to make a return visit worthwhile. There is still time; the season's finale, "Memberworks" will be on view through July 23 (though not today or July 4). The judges were Frank Laury, a professor of art at FSU; Robert Marcellus, an art instructor for College of Sequoias who is also coordinator of the California State Fair art show, and R. Andrew Maass, executive director of the Arts Center. They combed through about 250 works to choose the exhibition.

What’s remains is long on paintings, notably short on prints and sculptures.

Easily the most spectacular piece in the show is an oil painting by Iran-born Bahram Kafai most simply described as an astronaut’s view of Earth.

There is drama, fantasy and romantic realism of great intensity in the “space trip. It shows close-up views of planets, acres of “stars” and mysterious swirling disturbances presumably representing explosions in distant space.

The picture is set in a large (about eight feet by eight feet) concave frame, with the construction adding to the illusion of space. Such is the realism that up close it’s possible to experience a dizzying sense of height, as it one’s nose were pressed to the window of a space capsule.

We’re told that’s not the artist’s point, but that is the effect. We’re also told that viewers at the opening reception either loved “Oxygene” (taken from the pop album of the same name, presumably) or hated it.

Kafai was among perhaps a half dozen of “unknowns” whose work was impressive to this viewer, the others to a more moderate degree.

Roberto C. Salas shows a multi-piece sculpture conveying the impression of a mature talent grappling with a social statement in “Materials, Women and Beauty” (precise interpretation is beyond me).

Elizabeth Geller’s “Flaming Aspens” was notable as a watercolor landscape with a different treatment; John Y. Fortes is represented by a striking abstraction which suggests a Richard Diebenkorn landscape in its handling of space and structure and texture.

Dan Forbes contributed a color photograph of a nude that is strong in rhythmic beauty and mystery, and Vicki Brumberg’s “Rootabagga” is a contemporary basket sculpture that is pleasingly earthy, primitive and inventive.

Joy Johnson took a conceptual approach to sculpture and produced a piece which could qualify as vanguard in concept though conservative in structure. Carol Anderson demonstrates a promising talent, making something of visual interest with economy of…(See Arts Center Page G6)”