Page 23 - Studio International - December 1967

the art market has shown how precarious confirmation of the rejection of the old thought out policy to promote cultural
is a promotional system entirely in private trends. Instead of the mixture as before' activity on the national level. Now all
hands. When things go badly, one realizes there was a limited presentation, but M. Dorival has to do now is to cultivate his
the crucial role of the State in co-ordinating one both young and coherent. Centred garden—to record and number donations and
and supporting cultural activities. around a Cesar retrospective and two rooms legacies.
The State, however, is embodied by men. devoted to Alain Jacquet and Jean-Pierre Miracles, like success or accidents, never
Hitherto, those who acted for cultural Raynaud, the French exibits created a happen alone. Last year, as if by magic, the
affairs seemed inflexible. They survived the sensation—in every sense of the word. When artistic climate of the City of Paris was
vagaries of power of the Fourth Republic refusing to award the Grand Prix to Cesar transformed. A new municipal director of
and the change of regime when the Fifth —which was within their rights—the jury fine arts was appointed, M. Debidour.
Republic was established. Once in power, made a serious psychological error in Taking advantage of the Municipal
Andre Malraux attempted the impossible: to offering him a consolation prize which the Council's pious wish deploring the lack of
implement a new policy with the old staff, sculptor was bound to refuse. His rejection any cultural policy for the City, M. Debidour
the same men. The old team, weighed down of the offer is a matter of personal morality; caught the ball on the rebound and drew
by inertia, stifled any moves which might but here, too, something has changed in the up what one can only describe as a Charter
have encouraged renewal before they could new appearance of French art. Under the for Artistic Action in Paris. Old projects
even be born. During the past two years ancien regime things would have been were pulled out of filing cabinets where
the situation has begun to change, parti- different; some compromise would have they had been gathering dust.
cularly since the general elections which been found. Cesar gave the lie to the The Popular Municipal Theatre is becoming
confirmed the majority in power (only just, paternalism of the Biennale organizers a reality. Charles Munch has been
but still effectively). Time has lent a hand club. This is no bad thing, far from it. entrusted with the establishment of a Paris
to the work of politics. M. Cassou, on One could give many examples which Philharmonic Orchestra. An overall policy
reaching retirement, has left the Musee reflect significantly the new official engagement for library modernization has been put in
National d'Art Moderne, pledging his (the Mast of Honour in the renovated St hand.
assistant M. Dorival to an increasingly Cyr Military Academy was commissioned But it is primarily in the field of plastic
conservatorial role. No replacement has been from Cesar; Tinguely and Niki de St Phalle art that the change of policy has been most
found for M. Jeaujard, general secretary at were responsible for the 'Paradise' on the spectacular. M. Debidour's great idea was
the Ministry and therefore administrative top floor of the French pavilion in to create, within the Musee Municipal d'Art
co-ordinator for the entire national cultural Montreal). But the new team has more Moderne, a Section Animation-Recherche-
activity since M. Malraux accepted his ambitious ideas; the recent report given by Confrontation (ARC) which would link
resignation. M. Giscard d'Estaing, Chairman of the between artists and public through a series
Most of his duties have fallen on M. Finance Commission of the French of exhibitions centring on a specific theme
Anthonioz, head of a new department, the Parliament and former Minister at the and through lectures and personal meetings.
Artistic Creation branch. Hitherto Treasury, speaks for itself. The next French The ARC also acts as a public relations
M. Anthonioz had not been in a position to national budget, he said, will include a centre for important Municipal Museum
take real action. He has surrounded himself substantial increase in credits under the exhibitions, as for example in the case of the
with a young team which includes the new heading of cultural affairs. This increase Light and Movement Exhibition, when it
incumbent in M. Cogniat's position at the in credits is linked to the important organized symposia and debates on kinetic
General Inspectorate for the Fine Arts — decision to establish a National Centre for art.
M. Allemand, former director of St Etienne Contemporary Art in 1968. Unlike the Musée What we are seeing is the coming together
Museum. National d'Art Moderne, which is concerned of two official structures which are being
This team has bided its time. But its hour exclusively with the presentation of works completely remodelled and beginning to
has arrived. One of the first gestures of the which have already achieved recognition, act in concert. At a time when the social
Anthonioz team was to appoint a new this Centre will be responsible for showing function of art, its meaning and justification,
French commissioner to the São Paulo and the works of artists still relatively unknown, is changing, State patronage and national
Venice Biennales in place of M. Lassaigne, but of self-evident talent. This is how the coverage of promotional activity in the
who has become general representative for team defines its position and affirms, even field of research and creation have become
the Paris Biennale. The selection of before the completion of the Musee du urgent necessities. This time, the reversal
M. Ragon is a significant reflection of this XXième siècle (for which Le Corbusier of official policy seems to have taken place
renewal. The French exhibits chosen for drew up the plans just before his death), before it is too late. Paris has been offered
the São Paulo Biennale were a brilliant its determination to introduce a rationally a second chance. q

Paul Waldo Schwartz studied at Harvard and Colum- Phyllisann Kallick studied creative writing and paint- Corrections In our November issue Brian Rice was
bia in the U.S. He was a Pulitzer Fellow in critical ing at the University of Pennsylvania and art at New incorrectly described as winner of the Arnolfini
writing, 1963, and has been art critic for the New York York University. She teaches art in a school in New Competition in 1961. He was runner-up in 1963.
Times since 1963. He has written Great Paintings York, and both paints and sculpts. Naum Gabo informs us that the Lissitzky work illus-
(with an introduction by Sir John Rothenstein) and trated on p. 213 of our November issue, and there
the Hand and Eye of the Sculptor, to be published this Acknowledgements We wish to acknowledge the as- dated 1920 and entitled Tatlin working on Third
winter. He is at present working on a history and sistance of Robyn Denny and Malcolm Hughes in the International Monument, was in fact painted c. 1921
analysis of Cubism. preparation of material on Ad Reinhardt. We also and illustrates a passage in 'The Realistic Manifesto':
wish to thank the Peter Stuyvesant Foundation, the 'The plumb-line in our hand....' etc.
Robyn Denny was one of the five British artists Jewish Museum in New York, and Betty Parsons
chosen to represent Britain at the 1966 Venice Gallery for the loan of blocks.
Biennale. He lectures at the Slade School of Art. His
most regent one-man exhibition was at Kasmin
Gallery, London, In June.