Page 17 - Studio International - March 1966
P. 17

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
         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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