Page 9 - Studio International - August 1966

Palma Bucarelli (Italy), Robert Delevoy work of more than seventy artists, it is not a giant packing box, in which flat wooden
(Belgium), Kurt Martin (Germany), Francois surprising that proportionately the Italians silhouettes could be moved on hinges. The
Mathey (France), Miroslav Micko (Czecho- won more prizes than any other country. Pinin Farina prize went to Emilio Scanavino.
slovakia), and Norman Reid (Britain) —a The official prize for an Italian painter went The Germans won two awards. One was
group of experts, all of them directors of to Fontana, whose white oval room with Horst Antes (Unesco prize), whose personal
national museums or galleries, whose names several slit-canvas pictures arranged on disquieting vision, following in direct line
do not suggest support for any particular stands within it was one of the more con- from German expressionism, deals with the
trend, movement, or idiom. It would be troversial contributions. Had the jury not inter-relationships of human images with
difficult for anyone who has spent any time been familiar with Fontana's more sub- certain features multiplied. Most of his
at the Biennale to disagree vehemently stantial oeuvre and borne that in mind in paintings seem like an autobiography in
about the choice of prize winners, although their assessment, perhaps Fontana would which the two-eyed figure whose adventures
it could be argued that Lichtenstein is not have been awarded a prize at all. are depicted, stands for the artist himself.
more deserving than Martial Raysse, who Although prizes are given only on the strength The other was Gunter Haese, whose quivering
won the David E. Bright Foundation prize of the works exhibited at the Biennale and delicate wire constructions are endowed
for a painter under 45; that Fahlstrom is not on the basis of other work, it is difficult with both organic and jewel-like qualities,
more original; and that any of the British to put the rest of the artist's work out of won another David E. Bright Foundation
painters taking part were more substantial mind. The prize for an Italian sculptor was prize. Among other prize-winners was
in vision and content. Two prizes were given to Alberto Viani whose polished brass Constant, the one-time spokesman and
awarded to British artists—Richard Smith and black marble sculptures are strangely member of the Cobra group, more recently
won the prize given by Mr and Mrs Robert and consistently derivative of Arp. Among associated with a series of creations, plans
Scull for a non-American painter under 35, other Italian prize-winners were Castellani, and designs for the New Babylon—world-
and Anthony Caro received the David E. who showed white canvases stretched over wide city of the future occupied by nomadic
Bright Foundation prize for a sculptor. geometric patterns of nails, and Mario homo ludens. He won the Cardazzo prize—so
Since the Italian pavilion contained the Ceroli who showed a rough wooden hut, like named after one of the most influential

Patrick Procktor, the painter, exhibited in the first George Savage, a member of the council of the British Robert Hughes, the Australian critic and writer, was
'New Generation' exhibition, and has had one-man Antique Dealers' Association, has written extensively on this year's selection committee for the 'New
exhibitions at the Redfern Gallery. He has contributed on art and antiques. Generation' exhibition at the Whitechapel Gallery.
occasional articles to The New Statesman and other The exhibition, which was sponsored by the Peter
magazines. Book reviewers are Jonathan Mayne, deputy keeper Stuyvesant Foundation, was reviewed in our July
of the Department of Paintings at the Victoria and issue.
Both Alan Bowness, who lectures on the history of Albert Museum; and Robert Melville, writer and art
art at the Courtauld Institute, and the critic David critic of the New Statesman. Acknowledgements
Thompson (who recently produced a film on Turner We wish to thank the following for assistance in the
for the Arts Council) were members of the selection preparation of this issue: The Peter Stuyvesant
committee responsible for the British representation Foundation; The Los Angeles County Museum of Art;
at the Venice Biennale. Ed Cornachio; and Alexander Lieberman.