Page 56 - Studio Interantional - May 1967

Above Lothar Quinte Untitled 1965-6
acryl 39 ⅜ x 39 ⅜ in. Coll: Freudenberg
Galerie Muller, Stuttgart
K. T. Lenk Structure 13 (oracle) 1965
aluminium 13 ¾ x 13 ¾ x 15¾ in. Coll: Dr Krauss
Galerie Muller, Stuttgart

WEST GERMANY stract' in public galleries. No one seems to under- hand, the artist who sets his own standards will
the artist is willing to compromise. On the other
stand that by its very nature art is aristocratic, not
commentary by democratic: the best artists dominate and want to not find enough German buyers and inevitably is
be aided. The present policy of indifference, even tempted by an easy commercial internation-
Robert Kudielka more than the absence of a capital, helps to put alism.
the arts at the mercy of regional feuds, local The art scene thus involves a paradox; it promotes
pontiffs, and cliques. German's only exhibition of regional styles and groups and is simultaneously
international importance, the Kassel Dokumenta, subject to social pressures which force artists into
Between always offers-at least so far as the German con- international 'fashions'. As a result private galleries
tribution is concerned-an example of rivalry have assumed great importance-especially now
regionalism between regional group interests, with North that the funds of public galleries have had to be
Germany omitting the South. reduced because of the deteriorating economic
and Stubborn regionalism, however, is only one con- outlook. At first glance the dispersal of galleries
sequence of the politicians' indifference to the arts. between a few cities, often remote from each
internationalism Since the end of the war the pictorial arts have other, would seem to make them an easy prey to
remained in a state of desperate social uncer- the style and ambitions of local groups of artists.
tainty. The long overdue reform of art academies Yet these local groups are to a great extent de-
has still to take place. German artists and sculptors pendent on sales by the galleries; consequently
To date the work of young German artists has had cannot hope for those favourable teaching posi- any gallery run on sound business lines is in the
little international recognition. In Germany itself tions open to their British colleagues at every art powerful position of being able to apply the
a glib explanation is sometimes given : the lack of a school. Appointments to art academies (in any standards and requirements of the international
capital city to co-ordinate creative activity, pro- case a sort of pension scheme) are normally made market. This is a position which entails serious
mote an exchange of ideas and foster national at the professorial level, and are available to a very responsibilities. To what extent can regional ten-
representation. But a capital could be replaced by limited number of artists. Only recently have dencies be reconciled with international trends
an enlightened policy of assistance to the arts in certain academies-Hamburg and Düsseldorf, for without losing their own character? And to what
the national interest, rather in the manner of the example-set up visiting lectureships on the Anglo- extent can regional trends be adopted without
Arts Council in Britain. So far, however, efforts to Saxon pattern, thus enabling more artists to earn a losing sight of international requirements?
establish anything like this have been foiled by the reasonable living. Elsewhere artists are still faced One leading North German gallery which
thoroughness with which new-found democracy is with a choice of evils : either they must take up a remains true to regional conditions yet still main-
practised. In the State Parliaments, those bastions different profession, simply in order to live, or else tains an international standard is GALERIE BRUS-
of cultural authority, the slightest reference to they must become 'professionals'. The latter choice BERG of Hanover. In March it showed new works
past National Socialist control of the arts is enough offers doubtful benefits: it is possible to make a by the Hamburg artist Paul Wunderlich (born
to start a debate on the 'Dictatorship of the Ab- good living from public commissions, but only if 1927), the leading representative of an informal
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