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IN THE GALLERIES: ALLAN D'ARCANGELO
Vivien Raynor
This approach to the contemporary scene is familiar, but D'Areangelo is a shade less selfconscious than most of his Newly Realistic colleagues. He concentrates on superhighways, their signs, white lines and billboards, using a flat, hard-edge formula related to poster art of thirty years ago. A "quadruptych" shows an orange moon rising over a brown and black landscape to reveal, by stages, a Gulf sign. In others there are route signs phosphorescent white against blue and black: a Pegasus jumps across the highway; a blonde looms huge over the horizon, all pink and blue and smoking a cigarette. D'Arcangelo's visual sense leads him to project some of the beauty of a road at night - which disqualifies him from an honors degree in Pop. Moreover, he hasn't completely grasped the official wit. On the other hand, awareness of the party line causes him to water down his visual experience with too elementary a stylization.
(Thibaut, Apr. 30-May 25.)
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