ART REVIEWS

L.A. Abstraction: A diverse array of paintings, drawings, collages and prints by Lorser Feitelson (1898-1978) and John McLaughlin (1898-1976) at Tobey C. Moss Gallery outlines important connections and differences between the two Los Angeles abstractionists. This historically minded exhibition is most engaging, however, in its presentation of rarely seen pieces--curious experiments the artists undertook and rejected, as they struggled to discover their mature, signature styles.

In the earliest works, McLaughlin and Feitelson clearly crossed paths. Two small paintings from 1949 look as if they belong to the other artist’s oeuvre: McLaughlin uncharacteristically explored colors and curves, and Feitelson limited his picture to straight lines and a black-and-white palette.

Examples of McLaughlin’s inquisitiveness abound. A compact still life from 1946 reveals the magnitude of his leap to non-representational images in the mid-1950s. An actual tabletop from 1959, painted in a clunky, computer-graphics pattern, and an all-over, interlocking pink-and-green gouache from 1960 reveal two approaches he momentarily flirted with, but wisely did not pursue.

In contrast, Feitelson is the more consistent, less inventive artist. Early sketches containing figure studies and preliminary designs for larger linear compositions suggest that his abstract canvases are meant to be seen in relation to bodies twisting and turning in space.

A single, vertically oriented stripe painting from 1953 stands out as Feitelson’s quirkiest work. Its odd combinations of burgundy, lavender, orange and lime green bands create a queasy, aggressive rhythm absent from his more graceful paintings of curved forms and flowing lines. Unlike McLaughlin, whose minimal paintings break free of their sources, Feitelson’s images refer back to their roots, suggesting similarities to popular graphic designs.

* Tobey C. Moss Gallery, 7321 Beverly Blvd., (213) 933-5523, through Dec. 31. Closed Sundays and Mondays.