Page 9 - Studio International - August 1966
P. 9

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.
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