Page 19 - Studio International - July/August 1967
P. 19

responsible for what prestige our artists   Tate. First the Sunday Telegraph's leaking of   process, and constitute a 'move to pre-
             command anywhere outside this country    the news spoiled what was meant to be a   determine greatness' on the part of
             except the United States, where the British   seventieth birthday celebration. Then the   officialdom. Moore, to his younger con-
             Council doesn't operate. But its budgets are   publicity stampeded tentative discussions   temporaries, obviously appears now to have
             still of a kind which humiliatingly require   into arguable assertions of fact. And then   become a classic case of the Establishment
             it to ask foreign museums to bear much of   there came the letter to The Times of April   artist—one whose 'heroic achievements' may
             the cost of its exhibitions (in sharp contrast   26 questioning the entire arrangement on   not be in question, but whose sponsoring in
             with American practice) and it is completely  principle, and signed by forty-one artists   a 'heroic and monumental role' is specifically
             unable to meet the need, for example, to   including (to mention only sculptors)   rejected. It can be an invidious argument
             extend the British Pavilion at the Venice   Anthony Caro, Elizabeth Frink, Phillip   when it comes down to particular instances,
             Biennale, which is now an active impedi-  King, Eduardo Paolozzi, Peter Startup,   as Victor Pasmore tartly suggested. But it is
             ment to the proper showing of sculpture   William Tucker, William Turnbull and    an essential argument, bound up with the
             there. Yet this year the Arts Council has   Brian Wall. It was a significant letter which   whole twentieth-century tradition of batter-
             received grants of almost embarrassing   duly shocked the Establishment: not      ing against that obstinate citadel, the
             generosity. And included in these grants is a   surprisingly, for it was an anti-Establishment   museum-making, honours-list, anti-radical
            substantial sum for the organizing of     letter. And this seems to me the essential   habit of mind. On that issue, in the nature
             exhibitions abroad—a function for which it   point which subsequent correspondence   of things, the artist and the Establishment
             has never been, and has no need to be,   either missed or confused. The gift, if   must always be, less or more acrimoniously,
             equipped. Cannot Miss Jennie Lee insist on   massively enshrined the at Tate (when   at loggerheads, if not cross-purposes.
            some inter-departmental co-operation which  everyone thought that Moore's natural   Henry Moore's recent work — carvings in
             rules out such anomalies?                `museum', if there were to be one, should   Carrara marble — are on exhibition at Marlborough
                                                      be in the open air and preferably at Much   Fine Art, London, from July 12 to August 31.
             DPoor Henry Moore must be kicking        Hadham), would not merely tie up valuable   Josef Svoboda's drawings and designs are
             himself for suggesting he might donate some   space, but jeopardise the reading of modern   on show at the Grosvenor Gallery, London,
             twenty to thirty major sculptures to the    art in a modern museum as a 'radical'    until August 12.

           Below left, Josef Svoboda's set for The Tales of Hoffman by Offenbach and, right, for the Makropoulus Affair by Janacek, both commissioned by the
           Prague National Theatre

            Harold Cohen studied at the Slade School of Art. He   Jean Clay, the French art critic, is a regular contribu-  Corrections  In the June issue Kevin Gough-Yates
            has had many one-man exhibitions and his work can   tor to  Réalités,  and contributing editor to  Studio   was mistakenly described as a contributor to  Sight
            be seen in the Tate Gallery, London, the British Council   International.          and Sound.
            collection, London, and the Art Gallery of Toronto.                                We also apologize for the fact that the reproduction
                                                     Frank Whitford  is at present living in Berlin and re-
                                                                                               of Tess Jaray's  Narcissus 1967 (June issue, p. 311)
                                                     searching into early twentieth century German paint-
            Gene Baro,  a frequent contributor to  Studio Inter-  ing and graphic art.         was inverted.
            national,  also contributes to  Art International, the
            London Magazine and other periodicals and is London   Book reviewers  are listed in the Supplement on art
            Correspondent of  Arts Magazine and  Art in America.   books.
   14   15   16   17   18   19   20   21   22   23   24