Page 16 - Studio International - November 1965

3 British artists in New York by Bruce Glaser
Richard Smith photographed by Tony Evans
1 their first shows and I got to know my generation in
Something equivalent to the 'brain-drain' in science has
been approximated in the arts as a remarkable number
of British artists find one cause or another to migrate, even
if only temporarily, to the United States. In a recent
discussion broadcast over radio station WBAI in New York,
I questioned three expatriate Englishmen now residing
here about the attractions of America, the influence of
New York art and their development as artists in England.
The artists, Allen Jones, Peter Phillips and Richard Smith,
range in age from 26 to 35 years and their responses are
representative of the maverick attitudes associated with
the younger generation of painters in Britain. The
vigorous dialogue between them and American artists that
has resulted from their presence in the United States
is a clear indication that, although they have been drawn
to America out of regard for her achievements, they
also have a good deal to question and propose as well.
Their work supports the strength of their position.
Two major exhibitions of British art organized in the past
year by the Walker Art Center in Minneapolis (London:
The New Scene) and the Albright-Knox Museum
in Buffalo (Contemporary British painting and sculpture),
and a considerable number of gallery exhibitions from coast take it as badly as before when the idea of anything
to coast, confirm the reciprocal interest of Americans in
the new art of Great Britain. The edited discussion follows.
178
Bruce Glaser What were your reasons for coming to
America, and specifically New York, to work and stay
awhile? And I am referring to your more personal
motivations rather than exhibitions, fellowships or
teaching positions offered you.
Richard Smith I first came in 1959, and that was on
a fellowship which kept me here for twenty-one months,
but I had wanted to come to America for a long time
before that. I came not only because of the painting
that was going on, but because America was the home
of other cultural manifestations that I like, jazz, rock
and roll, the movies and a certain kind of architecture.
During this initial visit of about two years I had my
first one-man show at the Green Gallery, and I liked
the people I got to know. In 1959 the younger genera­
tion of American painting was considered to be Al
Leslie, Mike Goldberg and people like that. The current
younger generation was just forming and just having
New York. I enjoyed them, I found them stimulating
and I find the place stimulating. But when my fellow­
ship was up I went back to England for two years
because of visa problems, then I came back to America
about a year ago.
Glaser What aspect of American jazz and movies and
architecture is it that you liked?
Smith They seemed more twentieth century than
European manifestations. I think there has been a
shift in a way. In some ways London now seems to be
taking over from Milan in a style-setting sense.
London is becoming chic and hip in all the minor
decorative arts, in clothes and fashions, in looking and
eating, and fashions in sound. But that's not enough
for me. I think New York may be consuming a lot of
London ideas, as is apparent from looking through
magazines that reflect clothes interests and things
like that, and from listening to the radio stations that
are playing English popular music, but in the major
arts New York has more strength. New York is really
more radical than London.
Glaser Does your interest in American cultural mani­
festations extend a direct influence on your painting or
does your interest come merely from a desire to be
surrounded by a more vital atmosphere?
Smith I think they have some influence, but I think the
influences are pretty devious and they get more
devious all the time.
Glaser What about you, Allen? Why are you here?
Allen Jones I had a show here (November, 1964)
and that was ostensibly the reason for coming. But I
also came earlier in the year in the Spring for no obvious
purpose. I quite liked the idea of coming with no axe
to grind, and I like it so much that I decided that at the
first available opportunity I could afford to get over
here to stay for any length of time, I would. Those are
the most immediate reasons for coming here. But on
another level the reason I am here is because in London
you were very aware that the major force that towered
above any shows or anything that was going on in
painting, and it is used as a criterion, is American
painting. And it seemed that one just had to get in the
middle of it and go and see and work in this situation,
if only it was to lay some sort of ghost. And, in fact, I
found from my last very brief visit that my feeling about
my identity as an English painter was asserted. I didn't
going on in London was to me some sort of second­
hand reflection of what was going on in New York.