Page 13 - Studio International - May 1966

transparent cellophane. All these works strictly limited to the formality of the in this field. The works ofTinguely, Bruce
have certain associations with the cinema, structure, make greater allowances for Lacey and Harry Kramer do not follow the
since the images are confined to·a rectangular analogies not only between form, movement, sort of logic that either the material or
flat area and follow a definite time sequence. sound, and colour, but between human methods they use would suggest. Their
They represent one specific area in the experience and the content of the work work is highly personal, often makes literary
development of kinetic art. itself. It is in this field that one encounters allusions, and usually tlirough specific
The kinetic manifestations which belong also the greatest variety of ideas and iconography refers to issues on-which
more closely to the realm of p�rformance interpretations. formalist art never touches. H arry Kr er's
and in which the references are not so Calder's Curcus of 1926 is the earliest classic wire cages with moving elements relate to
continued on page 174
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Design for moving 'do-it-yourself' sculpture by Jean Tinguely, broadsheet size 24 x 36f In. folded to 12 x 9¼ in.

Giuseppe Marchiori, the eminent Italian critic, contri­ Edward Lucie-Smith, poet and critic, and Dore George Savage, a member of the council of the British
butes to Art lnternatonal, Fronte Nuovo Delle ArU, and Ashton, American critic and writer, contribute Antique Dealers' Association, has written extens·vely
other journals. He has published many books on mod­ monthly commentaries to Studio International. on art and antiques.
ern art, one of his latest being a monograph on Gaud i.
Charles 5. Spencer writes on art for severa journals Acknowledgements_
Jean Clay, the French art critic, is a regular contri­ and reports on art in Britain for_..the New York Times. We wish to acknowledge the assistance of Parke­
butor to Realites. Bernet, New York, and of Marlborough Galleria d'Arte,
Charles Harrison, who has le�tured at the Bath Rome, in the preparation of this issue.
Cyril Barrett lectures in philosophy and aesthetics at Academy of Art, Corsham, Is researching on British
the University of Warwick. He contributes to Das painting and sculpture between the wars.
Kunstwerk, and at present is organizing an exhibition
of kinetic art to be held at the City Art Gallery, Book reviewers in.this issue include Alan Bowness,
Coventry. lecturer in the history of art at the Courtauld Institute,
and Dr J. P. Hodin, the critic and biographer of
Kokoschka.

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