Page 15 - Studio International - July 1966
P. 15

The New Generation

                                  by Patrick Procktor
                                  Studio International invited Patrick Procktor, one of the participants in the 1964 New Generation exhibition
                                  at the Whitechapel Gallery, London, to look at the work of the thirteen artists represented in this year's
                                  exhibition (June 22—July 31). The magazine had gone to press before the opening of the show, and the
                                  following notes are based on recent visits paid by Patrick Procktor to the studios of the artists.

                                  May 20                                             of tone, like semi-precious jewels.  Around yellow 3,  has
                                  CENTRAL SCHOOL OF ARTS AND CRAFTS  Four artists. A   a similar though lighter beauty, appealing particularly to
                                  group, not a  GROUP.  They all happen to be final-year   the very refined myopic business-man who is in all of
                                  students there. Only one, Colin Cina, exhibited in this   us a little.  Viking's delight,  his two-sided free-standing
                                  year's  Young Contemporaries.  We talk about that. I say I   perspex painting, I admire less, it's less seductive, perhaps
                                  think the Young Contemporaries has gone off in the last two   more courageous, but not in a way I care to understand.
                                  or three years, even allowing for the natural prejudice on   Knighton Hosking has two paintings of folded doors,
                                  my part of creeping age and general remoteness from the   one real painted folding door and a painting of the top
                                  art schools' arena. At the same time the New Generation   of a beaker. The scale huge, and, like Richard Smith,
                                  exhibitions both '64 and '65 attracted wide attention.   simplified in structure, but unlike him, altered, and un-
                                  Setting a higher standard, they have taken away from   like him, almost no colour, mostly black, white, and silver.
                                  the Young Contemporaries the reputation as a showcase for   Roger Barnard's  are fair examples of optical paint-
                                  new talent. The average age in this year's New Generation   ings, the most recent one moving towards something less
                                  is lower and the average degree of exposure, the  mathematically regular. Where?
                                  amount the artists have been shown to the public, less   Roger Brace's  paintings have bright non-objective
          Left                    than before. These four artists are of the same age, for   structures with a 'figurative element' slithering across. I
          Colin Cina              example, as a few years ago would have been those   hate that term but there's no more specific way to describe
          Around yellow 3 1965
          Oil on canvas           showing in the  Young Contemporaries.  It must be added   it. Actually there are two elements, one big and bosomy
          84 x 84 in.             that the structure of both exhibitions is different: the  and leggy, the other ? —yes, wriggly long and thin. Sex,
                                  Young Contemporaries comprehensive, though- it was never   regular sex, in fact it wouldn't matter what kind of sex,
          Knighton Hosking        sufficiently so; the New Generation highly selective.   I'd prefer more sensuality.
          Splen-door 1 1966        Colin Cina's  Vivarium  has a deep velvety background,   I leave feeling like a kind of one-man art Juke Box Jury.
          Oil and aluminium paint on   the colour of uncooked calves' liver; against this —little  You know the 'There are so many records like this, all
          108 x 84 in.            unspecified organisms wriggling about in close harmonies   the same' remark—this is how I feel about these paintings.
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