Page 22 - Studio International - February 1967

Correspondence own personalities with more confidence. The main ledge or consent, and among them are various works
Offish contribution to international art has always of art given to me by various artists, including the
been the brilliant individual. There are now a lot of two kinetic reliefs by the Venezuelan artist Jesus-
The Ascendancy of London
brilliant British individuals about, there is no School Raphael Soto which were reproduced in the January
Sir, of London and there is no recognizable style or title 1966 issue of Studio International (to illustrate an
I applaud the passion of Patrick Heron's article 'The (mercifully, since to fit into a Greenbergian or Allowe- article by Mr Jean Clay on Soto's art), and works of
Ascendancy of London in the Sixties' (Studio Inter- gian category has proved to be sure death to many art by Sergio De Camargo, Antonio Calderara,
national, December 1966). He very forcefully reminds American artists). Alejandro Otero, and Lygia Clark.
everyone of a number of historically important facts. It is amazing that though quite a number of British I hope that you will print this letter to warn collectors,
Having examined and established the generous artists have got on to the U.S. gravy train they have dealers and museum directors, who may be offered
British attitude in aiding and accepting the big come through it all with, whether they like it or not, for sale works of art by any of the above-named
American break-through we must now realize that their British individuality intact, notably Richard artists. If any work of art by any of the above-named
there really is something good happening in British Smith, David Hockney, Robyn Denny, Harold Cohen, artists (or, for that matter, by any other artist previ-
art which must be recognized, supported and allowed Joe Tilson, Anthony Caro and Philip King. British ously connected with Signals London) is offered to
to flourish. We do not necessarily need the support of artists have learned what was to be learned from them for sale, I suggest that they should investigate
America, they will come round sooner or later. But it America (or anywhere else) and then progressed in thoroughly the provenance of that work.
is now up to British critics to drop their timid attitudes their own way. This is an intelligent attitude. At the Yours faithfully,
and to forcefully and wholeheartedly bring out what moment it seems to be fashionable for a lot of Ameri- David Medalla
is under their noses—living British art, healthy and can 'names' to come to London often only, it seems, to 99 Balls Pond Road,
growing. It is up to the British artists and dealers who bask in the adulation which readily comes their way. London, N.1
are overawed by the States to begin to assert their They waste their time if they underestimate or miss
completely what is happening around them and we Kelpra Studio
would be over-polite to the point of being boring and Dear Sir,
sterile hosts if we failed to point out to our visitors
Thank you for the kind mention of both myself and
what is to be seen. the Studio in your Graphics Section, Studio Inter-
73 years ago A very important point that Patrick Heron makes is national, December 1966.
the existing contact between the young, middle and
Two points do arise which I wish to clarify. Firstly,
older generations of artists in this country, often in
although it is very satisfying to my ego to be men-
art schools in a working situation. This is why we have
tioned personally, the success of Kelpra Studio is
a most advanced system of art education in Britain
due to three people, and now we are training a larger
which is in itself worth coming to see and learn from.
staff. Therefore in fairness to everyone involved, I
Yours, etc,
would prefer any future reference to be collective.
Alan Wood
Secondly, there has arisen some misunderstanding
Principal Lecturer,
as to this company's relationship to Marlborough and
Fine Art Department,
Alecto. This company is entirely independent and
Cardiff College of Art
prints at present exclusively for these two publishers,
as they are able to effectively market prints and
Lost kinetic works collectively programme their artists.
Sir, Yours faithfully,
On page 320 of the December 1966 issue of Studio Christopher Prater
International you reproduced a photograph of an Kelpra Studios,
electromagnetic sculpture made in 1961 by the Greek 80-81 Britannia Walk,
kinetic artist Takis Vassilakis. That particular work City Road,
was given to me in July, 1964 by the artist from Paris London, N.1
as a token of friendship and 'in homage' (to quote his
Sir John Millais, after having gone through all the words) 'to the sand-machine of David Medalla'. The In other publications
restless stages caused by the preoccupation of finding actual title of that work by Takis is Ballet Magnetique
the expression of his thought, has decided upon portrait- 1961, and another photograph of it appeared In the Image
painting. When he thinks of his past, so full of works of November—December 1964 issue of Signals News- The winter 1966/67 issue includes a well-illustrated
rare merit, so rich in ideas gloriously expressed, he bulletin which I edited. I have a handwritten document 'New York Portfolio' on the work of young and little-
ought to feel himself to be, indeed, happy, and should by Takis Vassilakis certifying that the Ballet Magnetique known American artists, and 'Art and Inner Space',
he have with him some friend or admirer to remind him 1961 was given to me by him. The photograph you a 17-page presentation of works by schizophrenic
of the works of his youth, into which he put all his printed was taken by Mr Clay Perry in my old room in patients and by artists using psychedelics, in parti-
artist's soul, he must find that time has passed vastly South Kensington in September 1964. The same work cular LSD and mescalin. The price of Image is now 5s.
quick. by Takis was included in the international exhibition
I for one thank him for the lasting emotions that his Art and Movement organized by the Scottish Com- In brief
pictures have given me, and which I feel again at the mittee of the Arts Council and shown in Edinburgh An open painting competition, with three top prizes
sight of masterpieces such as The Eve of St. Agnes, the (Diploma Galleries, Royal Scottish Academy) and in of £1,000 each, is being sponsored by the Richard
Burners of Dead Leaves, and the Carpenter's Shop, works Glasgow (Kelvingrove Art Gallery and Museum) early Demarco Gallery in association with the University of
rich in bold colouring, where accomplished draughts- in 1965. It was listed as item no. 60, with the title Edinburgh. It will be open to all artists working in the
manship has come to the help of an overbrimming Ballet Magnetique, the date '1961', and my name as the U.K. and Eire, and the resultant exhibition of 100
imagination. lender, in the catalogue of that important exhibition. works—to be selected by the three judges, Mr David
From a commentary by M. Besnard, I write to tell you that the particular work you repro- BaxandalI, director of the National Gallery of Scotland,
translated by Will Rothenstein duced was taken from my bedroom, sometime during Sir Roland Penrose, and Mr Norman Reid—will con-
the first week In October 1966 while I was on a short stitute one of the official Edinburgh Festival exhibi-
In the March issue visit to Paris. Doubtless when you printed a photo- tions. The exhibition will be held at David Hume
graph of that particular work neither you nor Mr Tower, University of Edinburgh, from August 25 to
The March issue of Studio International will include Charles Spencer (the author of the article on Takis's September 25.
Professor C. H. Waddington on 'The All-Round View', sculpture) knew of that work's provenance or present
by Aaron Scharff on 'The Futurists and the Photo- whereabouts. I myself have not seen that particular A Printmakers' Research Centre, sponsored' by the
grapher', Cliff Holden on 'Bomberg as a Teacher', an work since September 30, 1966 (when I last saw it) up Printmarkers' Council, has been set up in London to
interview with Bridget Riley by David Sylvester, and to the time I write this (December 31,1966). provide professional facilities for visiting artists and
Mark Glazebrook on 'How other European Countries There were many items, all of them my personal advanced graduates. A similar research centre is to
help the Arts'. belongings, taken from my room without my know- be set in Turin under the direction of Lia Rondelli.