Page 25 - Studio International - December 1967

must result in defacement, then let it be de- Last August the first poster prints were to set up a Museum where pulp, give away
faced. The only other alternative implies the displayed on hoardings in Wales. The com- literature and ephemeral mass-art, like
absence of communication on this scale. In missions for these had gone to Eric Malt- posters, postcards, and other items of
connection with this, a bold experiment has house, painter and lecturer at Cardiff doubtful aesthetic quality and taste would
recently been carried out in Cardiff by the College of Art, and Angela Dallas, a student find a permanent home. The museum was
Welsh Committee of the Arts Council. Last at the college. The poster by Malthouse to be used primarily for reference purposes,
May a meeting was called to consider a measures 10 x 20 feet and the other 10 x 6 rather than an altar to temporary styling.
special project to commission artists to pro- feet and 8 inches. The smaller one of the The museum is not likely to be realized, if
duce designs for poster size prints, to have two which is printed in three colours can be only because no place will be large enough
these printed commercially and then to dis- produced for under 30s, which as the Welsh to collect more than a year's worth of
play them on existing advertising poster Arts Council report comments is cheaper ephemera if everything was to be kept. And
sites throughout Wales. The sum of £4,800 than some wallpaper. indeed, how could one discriminate be-
was set aside for the scheme and a The idea of street posters which was first tween one bit of printed matter and another,
number of artists working in Wales were voiced by Peter Jones last Easter is one of or anticipate what will acquire one day the
asked to produce designs. It was decided, at the best practical solutions in seeing the requisite significance. It might, however, be
least in theory, to print unlimited editions, work of an artist in the context of everyday an idea to limit the collection of such a
and to place the posters (and later it is life. This whole notion touches on an issue museum to posters alone. The 1960s selec-
hoped, three dimensional objects) among which is poignantly present in all discus- tion would demonstrate how posters ac-
the street furniture and other advertising sion dealing with art today. One of the quired the status of art objects, how their
material, without attempting to find a suit- reasons why in the recent past numerous social functions changed from an advertis-
able environment. The fact that the posters questionnaires and articles have appeared ing vehicle to manifestos and decorations.
would get damaged and would have to be trying to debate the artist's role in society is All this happened within three years, and
replaced was taken into account. The aims because it is startlingly obvious that the like most small revolutions this one was
behind the venture as stated in the Welsh artist has no tangible, concrete, or impera- hardly noticed. Also, it happened simul-
Arts Council report were as follows: tive role at this juncture. The artist himself taneously in Western and Eastern Europe
'To take "art" out of the rarified atmo- often feels that his usefulness is rather and America.
sphere of galleries. limited, although it could be extended if the The advent of the poster could be regarded
as a temporary antidote to the print, which
ten years ago might have been within every-
Midsummer by Eric Malthouse one of the Welsh An exhibition poster by Roy Lichtenstein
Arts Council poster projects one's reach, and which today may cost as
much as £50. Thus the lithograph, etching,
screenprint, have been supplanted by pos-
ters as works which everyone can afford to
buy.
The poster is a modest medium. As such it
may encourage the diffident and the un-
skilled, in the making of the so-called semin-
al statements. It may attract those who
might not dare to put brush to canvas or
who may shy away from the permanence
of stone or bronze. This inherent quality of
modesty which provides the possibility of
exploring or playing about with an idea that
is small or insignificant, is one major virtue
of the poster as a means of communi-
cation. Poster is the antidote to the bore-
dom and certain pretentiousness of which
many paintings are guilty. Poster represents
the pamphleteering spirit of the art world.
Who knows, there may be a Milton lurking
in the rolls of paper with messages and
credos selling at 8 shillings a time. At this
price no one can afford to miss him.

'To bring experience of art to the everyday dialogue between him and his audience For posters: American Federation of Arts, 41 East 65th
world as a casual and easily available would be allowed to develop in an unself- St., NY 21—European agents: Galerie Ileana Sonna-
stimulus. conscious way. Effectiveness of communi- bend, 12 rue Mazarine, Paris 6; I.C.A., 17/18 Dover
`To further the "democratization" of art, by cation is the only criterion of the usefulness Street, London, W.1; Indica Bookshop, 102 Southamp-
supporting the increasing interest of artists of art. ton Row, London, W.C.1; Welsh Arts Council,
Museum Place, Cardiff. Among galleries specializing
in commercial production—both for its own Under the title 'The Museum of Ephemera' in posters are: Lords Gallery, 26 Wellington Road,
sake and as a means of reaching a larger four concerned, informed people held a London, N.W.8; Poster Shops Ltd., 43 Camden Pass-
audience. debate at the ICA a yearago. The discussion, age, London, N.1; and Galerie Documents, 53 rue de
'To ally art with industry. like most theoretical postulations, made Seine, Paris 6.
'To increase the chances of art activating propositions which in fact were already
the whole environment.' beginning to be implemented. The idea was