Page 17 - Studio International - February 1967

radical (though possibly subtle) changes in spiralling monument 97+ feet tall which was by sheer fantasy, those kinetic works tend
the character of the work. Few kinetic erected in Tirgu Jiu in 1938. In creating to be endowed with a richness which has
objects rely on changes which are as this monument Brancusi too had aimed at so far eluded those well ordered and formal
drastic and dramatic as those of the neon rejection of the finite. The endless column works where the change of positioning
Coca-Cola sign in Piccadilly Circus. Works is a symbol of infinity in the material form creates little actual change. The sort of
involving mechanical motion are often of brass coated steel. It is with this spectator participation possible in relation
dependent on a series of permutations column in mind that one can consider the to most of these works is limited to the
which are predictable (e.g. von Graevenitz), overpowering quality of dynamism which manipulation of a switch. Even this
or a given sequence which is predetermined exists without movement, and movement minimal relationship bears further
and repetitive (e.g. the light machines by which lacks dynamism. exploration. Last year a company
Malina, Livinus and Healey). There are other works which significantly manufacturing electric imitation coal fires
Effectiveness of kinetic works often depends belong to the borderline of kinetic art. discovered, on the basis of extensive market
on the perfection of execution and an For instance, Vantongerloo's suspended research operation, that people are
obvious decorative element for which sphere which is surrounded by a spiral absolutely fascinated by the movement of
Gruppo N, Gruppo T and other members made of nickel wire which is neither a flickering light as a background effect,
of Arte Programmata are renowned. This kinetic object although it can move, nor irrespective of the heat provided, to such
effectiveness seems usually to be coupled could it be described as a dynamic work. an extent that the glow is switched on
with a certain impression of sterility—it is Vantongerloo's aim was to create a throughout the day even in the summer
as if an entire laboratory of experiments disembodied entity. What he was using months. The idea of producing a
was petrified into a final shape before the to this end is a concept which today is background movement, with the work of
experiment was really finished. Here referred to as the principle of indeterminacy art seen in passing or obliquely may be a
Bruno Munari, whose inventive spirit is —a situation which makes allowances for modest aim but perhaps more real than
evident in all his, however well polished, those chance events which might or might one would at first imagine. Pt is also
works, is a notable exception. Julio Le Parc not provoke movement, or background to noteworthy that as the movement or the
in his object in the category of l'art grand the work. spectacular aspect of the work is increased
public, also overcomes this through sheer The use of indeterminacy, however, can so the viewer becomes more passive. It is
unorthodox playfulness and invention, be as much a structure for a work of art with the advent of cybernetic machines
which leaves a lingering trail of amusement. as any other set of premises. The use of that the sort of dialogue between object
If this is not enough in terms of significant chance plays a considerable part in kinetic and spectator which kinetic art so far
and intense art experience, it is still a leap art, although it has not been exploited tentatively proposes, can become a
forward from the more dead-pan kinetic sufficiently to date to make one aware functioning reality.
programming in which the finite sequence that such a process is consciously at The theories and intentions at the root of
of events arouses anticipation and resolves hand. kineticism are seldom fulfilled. George
in predictability. As in every trend in which the common Rickey writes: 'Nature is rarely still. She
Kinetic art relies on a process which deals factor is a technical one, kinetic art follows natural laws: gravity, Newton's
with a visual evolution that takes place in contains a number of sections to which the laws of motion, the traffic laws of topology.'
time, and the method by which this artists of the movement belong. Kinetic Since the use of movement implies neither
evolution is achieved, i.e. through the use art also has its dadaists (Tinguely), dynamism, revelation, use of chance, nor
of movement, is often given greater weight humorists (Harry Kramer), surrealists those parallels with nature that Rickey
than the actual purpose this technique is (Pol Bury), constructivists (Munari), talks about, it is realistic to consider
meant to be serving. Content becomes inventors (Takis, Lacey), expressionists kineticism as a possibility rather than a
subordinate to virtuosity. (Medalla), and cyberneticians (Schöffer). fully fledged art trend—as material that
In relation to this it is interesting to Where the organic element plays an can be put to splendid or insignificant uses
consider Brancusi's endless column—a important role, combined with or motivated equally well.

George Rickey was born in South Bend, Indiana, in Dr Frank Popper is author of a thesis entitled L'image Henry Martin is an American writer who lives in
1907. He has been working in kinetic art since 1949. du mouvement dans /es arts plastiques depuis 1860. Italy. He contributes articles on the visual arts to a
He writes on kinetic art and his book Heirs of Con- He was one of the organizers of the recent Kunst number of magazines.
structivism is due to appear this year. He has had Licht Kunst exhibition at the Stedelijk van Abbe-
many one-man shows in U.S.A. and Germany. museum, Eindhoven. Book reviewers include Paul Allen who studied English
literature at Cambridge and has travelled widely in
Stephen Willats is a young kineticist, born in 1943. He Cyril Barrett lectures on philosophy and aesthetics the Near East; John H. Field who is at the Courtauld
studied at Ealing Art School from 1960-3. He is parti- at the University of Warwick. He recently edited Institute; Alistair Grieve, of the Department of Fine
cularly interested in the use of artificial light. Collected Papers on Aesthetics and Lectures and Con- Arts, University of East Anglia; and Angela Lambert,
versations on Aesthetics, Psychology and Religious who has contributed to Arts Review and other journals.
Mark Glazebrook studied at Oscar Kokoschka's Salz- Belief, published by Basil Blackwell. He was respon-
burg summer school and at the Slade School of Art. sible for organizing an exhibition of kinetic art shown Acknowledgements
He teaches art history at Maidstone College of Art. recently in Coventry and Dublin. We wish to thank the following for their assistance
with the preparation of this issue: Cyril Barrett, who
Stephen Bann was born in 1942. Since 1960 he has Tim Hilton studied at the Courtauld Institute and is has assisted with the editing of the features on
been a historian at Cambridge. He lived in Paris from completing a thesis on Ruskin. kinetic art; Clay Perry, the photographer; Ian Duncan
1964 to the middle of 1965. He is co-author of Four Ltd., Motion Books, publishers of Kinetic Art, and
Essays on Kinetic Art and co-editor of the quarterly John Plumb was born in Luton in 1927. He studied Pergamon Press for the loan of blocks; McRoberts &
magazine Form. At present he is engaged in the at the Central School of Arts and Crafts. His work was Tunnard Gallery, London; Galerie Denise René,
preparation of a Concrete Poetry exhibition for the included in the recent New Shapes of Colour exhibi- Paris; Marlborough Fine Art Ltd, London; and
Brighton Festival in April. tion held at the Stedelijk Museum, Amsterdam. Thames & Hudson.
59