Page 30 - Studio International - January 1966

Biennia! on the Mersey

by G. S. Whittet

The John Moores Liverpool Exhibition is a biennial central track arc-ing vertically is of vegetable green.
with a difference. In each event since it began eight The reading of the painting is capable of bifocal
years ago it has been the aim of the organisers, under interpretation. First, as a retinal emotional script in
the perfectionist stimulus of John Moores, the which the colours, two blues, green and red in inverted
originator, to make each exhibition better than its pyramidal structure have effects that at long distance
predecessor in its scale of entry, concentration of are capable of 'transferring' strengths so that the
medium and the common ground of the judges. The quivering of colours in juxtaposition is set on a keener
1965 exhibition which is showing at The Walker Art note by their diagonal centring to a vanishing point
Gallery, Liverpool, until 16 January, represents the that is off the foot of the canvas. The width of the
best of all five manifestations. Primarily as regards the central green path is constant but its waves flatten
judging it was a master stroke to invite Clement towards the bottom thus suggesting downward
Greenberg, a critic from New York with an international penetration. Second reading is symbolic—growth is
reputation and an enviable ignorance of British art implied as a constant upward impetus almost like a
politics and reputations. He chaired the jury and flame.
justice was dispensed on either side of him by Patrick I have described the content of Michael Tyzack's work
Heron, British painter, teacher and critic of distinction in some detail because its nature is inherent in many
and John Russell, English critic and writer of equal of its neighbours and his success is personally gratifying
expertise. for the interest his work has aroused in me in the past.
More than 2,000 paintings were submitted and of The other aspect evident in the show is what might be
the 113 that were hung a remarkable homogeneity called a sweetening of attitudes. Designs overall may
was to be seen which reflected a common trend that be hard in their definitions of the ubiquitous stripe,
was strengthened in its effect by the purity of the wavy or straight, but colours if anything are becoming
selection. Responsibility, of course, rests on the jury; softer and, in some cases, even sweet. Thus the climate
there were undoubtedly 113 equally good or middling is verging towards the temperate rather than the torrid.
pictures to be hung but it is unlikely they would have Michael Kidner, winner of the £1,000 Second Prize,
hung so well together. Generally, the trend as displayed simply titles his painting, Orange, Blue, Green, Pink
was that of hard edge two-dimensional design that with the colours he uses in the alternate swelling and
relied primarily on large areas of pure colour working contracting wave bands that pulsate up his canvas.
in complementary values with other equally large areas Any intention suggested of an optical 'kick' is counter-
or in designs of intricate or relatively simple shape. acted by the free and unforced repetition of the bud
Michael Tyzack, winner of the first Purchase Prize of forms that resemble but do not duplicate their
£1,500, was typical of the clean non-objective type neighbours.
of painting in the majority here. His large canvas John Walker, winning 3rd prize with Anguish, is
Alesso 'B' is composed of a wavy-edged wedge of somewhat out of common ground by painting an
blue in two shades against a red background. The object that makes its own illusion of space in the

Left
Michael Tyzack
Alesso '8'
Open Section Purchase Prizes
First Prize £1,500
Right
Michael Kidner
Orange, Blue, Green, Pink 1965
Open Section Purchase Prizes
Second Prize £1,000