Page 25 - Studio International - January 1966

yet it has also been said of Frank Stella's paintings that not production. A concern for both production and
he '. .. is not interested in expression or sensitivity. He things provokes ominous thoughts, however, particularly
is interested in the necessities of painting.' For the Op when viewed in the context of the societies envisaged
artist, meaning resides in affecting our perception. 'My by Jacques Ellul in The Technological Society and
work,' said Anuszkiewicz, 'could best be explained as Herbert Marcuse in One-Dimensional Man. Both
a creative approach to the use of optical phenomena in see man dominated by a technology of his own
configurations with a primary interest in ambiguous creation, a technology that infiltrates all aspects of his
space, colour change, and visual movement of life and determines in great measure how he will react
shapes.' to various stimuli. (It is true that today even leisure
Thus problems of colour and composition, and of time must be planned or 'programmed.") Of the art
consciously forcing a style into existence, have been movements here under discussion, whatever else we
substituted for problems of the self. Where we once may say about them we cannot deny that Pop exults in
read Sartre for insights into the Abstract Expressionist the detritus of an industrial society, Op has geared
Tom Wesselmann cosmos, we must now turn to other writers. For itself as an artistic adjunct, and Concrete Expressionism
Still Life 20 1962
36 x 36 in. example, we can interpolate Pop Art into John Kenneth is satisfied with its impersonal look. If artists hold to
Albright-Knox Art Gallery Galbraith's The Affluent Society, for Galbraith finds present trends in making and writing about art a com-
Buffalo, New York
Gift of Seymour H. Knox that a basic problem in America is slavery to things, puterised art movement cannot be far behind. n