Page 17 - Studio International - March 1966

than others. Probably the Paris nightclub art that may or may not have a functional enough to deter artists from launching into
whose owner faithfully goes to all 'happenings' application, and of which the edition would this field are practical rather than ideological.
in town to find ideas which can be used for a be something around 2,000. He is against the The necessity for team work may not be
strip-tease show, represents one of the sort of attitude that allows a Gabo sculpture conducive to the exploration of personal
happiest marriages between art ideas and a to become in the hands of an industrial idiosyncratic ideas, although it might give
non-art manifestation. The Crazy Horse designer nothing other than a lamp that is something of a raison d'etre to the more
Saloon specializes in cabaret in which various vaguely similar to the sculpture that had environmental/hard-edge/Op manifestations
images and patterns are projected on to the originally inspired it. One questions the; where quite often mere tastefulness and
strippers. Ranging from Op effects and rather application of disembodied and misconstrued perfection of execution may hide the lack of
banal formal patterns to projections of New ideas to an item of furniture, which could be content that would be more easily exposed
York, or dollar notes of different denomina- a work of art in its own right should the artist in other types of art.
tions, the producer has succeeded in endowing be responsible for the design himself. With The area where art is born belongs to the
routine sexual provocation with an extra this in mind, the Centre, which will be a inventor's note-book, whether one envisages
dimension. It was amusing to note that as the workshop/studio, will involve the collabora- it literally or as a huge canvas within which
amounts of dollars projected on to a girl tion of artists, engineers and architects. the artist comes to terms with himself and the
gradually increased so did her expression A sound relationship between the artist and validity of what he has to say. No amount of
perceptibly change. The exquisite and industry in terms of production techniques as industrial processing can substitute that
touching combination of words, sounds and well as design has been explored to a greater irrational creative spark, that quintessence of
movement with which YVONNE RAINER extent on the Continent than here. The originality embodied in the fusion of concept,
delighted a small audience at the Common- Groupe de Recherche d'Art Visuel, Gruppo N media and intelligence. This area is private,
wealth Institute last year, also found its more and Gruppo T in Italy, have resorted to this esoteric and uncompromising, and no matter
pedestrian equivalent in The Crazy Horse strip solution as a logical outcome of their what the contingency, it cannot be invaded.
where song and dance were liberally inter- involvement. The only problems significant
spersed with blank verse — The Crazy Horse
cabaret seems to point the way to an
entertainment that may stimulate one's
intellect and phantasy as well as the senses, Richard Smith Joe Tilson
Sphinx 1 1966 Small 3D Geometry 1965
although this is likely to imply a surrealist
Silk-screen transfer on metal Screen print on vacuum-formed cabulite
solution to the problem rather than one Height 16 in. Width 5 in. Depth 11 in. butyrate and 'Formica' 12¼ x 12¼ in.
involved with either Op or Pop.
Democratization of art also implies its
availability. The recent interest in screen
prints on the part of some of the more vital
artists both in Britain and abroad has done a
great deal to popularize or make more
accessible objects which in themselves are
strictly esoteric. GERALD LAING'S venture into
small painted metal objects in editions,
RICHARD SMITH' and JOE TILSON'S three-
dimensional prints, suggest the possibility
that the glass paperweight and marble egg
may be superseded by more imaginative
items created by artists and reproduced in
unlimited editions. This is one of the ideas
likely to be explored by MARCELLO SALVADORI
and his CENTRE FOR ADVANCED CREATIVE
STUDY (first launched in 1961), which will
'open soon in new premises opposite Centre 42
in Camden Town.
Salvadori's intention is to produce works of

Frank Whitford is researching into early 20th century George Savage, a member of the committee of the Book reviewers in this issue are Michael Kitson,
German painting and graphic art at the Courtauld British Antique Dealers' Association, has written lecturer in the history of fine art at the Courtauld
Institute. He has taught art history at Camberwell extensively on art and antiques. Institute; William Townsend, painter, and reader in
School of Art. fine art in the University of London; David Thomp-
Jean Clay, the French art critic, is a regular con- son, critic and writer; and Quentin Bell, professor of
Edward Lucie-Smith, poet and critic, and Dore tributor to Réalités. fine art in the University of Leeds.
Ashton, American critic and writer, contribute
monthly commentaries to Studio International.

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