Page 16 - Studio International - July 1966
P. 16

Roger Barnard Slowly 1966
                                                                    Roger Brace It won't bounce 1965-66
     Acrylic on canvas 60 x 60 in.                                  Oil on canvas 72 x 72 in.

     Justin Knowles 180 1966 1966
     Acrylic on fibre glass Sphere diameter 66 in.
                                                                                One thing which is not appreciated by the public at all is
                                                                                the immensely high artistic casualty rate of young artists
                                                                                when they leave art school. Why should the public care
                                                                                about that? The cause always is the gap between wanting
                                                                                to paint, enjoying it, doing it with style or talent or charm
                                                                                or what, on the one hand, and on the other knowing what
                                                                                to paint. Some artists know, some find out, a few make
                                                                                not knowing what to paint into their theme, most never
                                                                                discover it and never will.

                                                                                May 23
                                                                                TOTTENHAM MEWS  Justin Knowles is a rare present-day
                                                                                phenomenon among young painters (of something quite
                                                                                common among the older generation). He is an artist
                                                                                with no formal training. In view of the post art-school
                                                                                casualty rate I referred to he can possibly feel thankful
                                                                                for having missed it. The Peter Stuyvesant Foundation
                                                                                formerly employed Knowles as a director and it is hard
                                                                                to resist the fantastic notion that their brainchild has
                                                                                taken physical shape in the form of his debut as an
                                                                                 His paintings are large shaped canvasses, crescent en-
                                                                                closing crescent enclosing circle, the canvas shapes then
                                                                                diversified by painted circles, crescents and arcs in hard
                                                                                bright colours. Occasionally the third dimension is
                                                                                brought in and they stand on the floor like canvas
                                                                                sculptures, or, as in his fibreglass sphere IBO, are suspend-
                                                                                ed from on high.
                                                                                 I do not question the aesthetic motives behind these
                                                                                large daringly-simple works, motives which he would
                                                                               seem to share with other British hard-edge painters,
                                                                               Hoyland, Plumb, etc. It is an artistic form of large scale
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