Page 13 - Studio International - May 1966
P. 13

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
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              "'·  .....  --                                              ·-.
              _,,. .. __
              --,.. ..

                                  p  /.



            •- -

            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

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