INTRIGUING SUM OF PARTS

If “1+1=2” were only an art show, it would be of little interest. The peculiar assembly of about 60 artworks, at UC Irvine’s art gallery through Feb. 9, makes no sense in terms of aesthetics, media or quality. But it isn’t just art that’s on view in this salon-style presentation; the point is the influence of marital relationships. The exhibition is fundamentally a sociological exercise, organized to bring together the work of artist-couples for the sake of comparison.

Looked at in the broad scheme of art history, this premise is a slim one that seems to place personal relationships ahead of art and fails to deliver a cohesive aesthetic experience. But seen as a manifestation of contemporary attitudes--and new willingness of couples to have their work exhibited together--the show is intriguing.

For one thing, influences and affinities are more pronounced than one might expect in an age that has placed a premium on individuality. More often than not, juxtaposing the work of husband and wife points up similarities--as obvious as the monumental figures, classical silence and muted palettes of Lani Irwin’s and Alan Feltus’ paintings or as subtle as the chunky, geometric sense of space in Valerie Jaudon’s architectonic abstractions and Richard Kalina’s watercolor landscapes.

We see Joyce and Max Kozloff’s common affinity to gridded patterns, as well as Nancy Spero’s and Leon Golub’s social conscience. Mary Beth Edelson’s and Robert Stackhouse’s share dramatic light and dynamic composition in dissimilar looking artworks, while Ellen Phelan and Joel Shapiro display startling continuity in their sense of elegance and structure. In three cases--Anne and Patrick Poirier, Helen Meyer and Newton Harrison, and Jenny Holzer and Michael Glier--differences disappear in minor representations of the couples’ collaborative efforts.

Another point strongly made by the show is that the male half of these artist pairs is not necessarily the better known, more accomplished or gutsier practitioner. While the brute strength of Robert Arneson’s twisted ceramic self-portrait overshadows the gentler expressionism of Sandra Shannonhouse’s bronze bust, Edelson, Jaudon and Miriam Schapiro show more prepossessing work than that of their male mates.

“1+1=2” is such an unpredictable stew of the celebrated and the unknown, the highly professional and the amateurish that it tends to destroy all sexist stereotypes. Yet, most conclusions that arise from such a packed-for-travel sampling are at least marginally suspect. In the case of unfamiliar artists--and there are many--we can’t tell if work has been selected to reinforce family resemblances or as representative examples.

The show was organized by Bernice Steinbaum and artist Paul Brach for Steinbaum’s New York gallery. The original version contained one work by each member of 31 couples (except for joint projects). UC Irvine has added works by Southern Californians Peter and Clytie Alexander and by Judd Fine and Lois Colette.

According to catalogue essays by Melinda Wortz and Donald Kuspit, marriage is an institution of aesthetic consequence, while togetherness represents an end to the selfishness of the Me Generation and the beginning of hope for the future. The problem with making such concepts the focus of a visually weak exhibition is that the art tends to come off as illustration or a busy backdrop for undeniably important considerations.