Page 20 - Studio International - October 1967

The Porcelain 3. Was it A—Claes Oldenburg 5. Rearrange in order of their importance
B—Oyvind FahlstrOm
to you :
Factory who wrote : 'Painting, sculptures, etc., today Plastics
C —Don Judd
Concentricity
The I Ching
Haiku
Questionnaire II represent the most archaic art medium, Lewis Carroll Humour
Chance
depending on feudal patrons who pay ex- Pneumatics
The Theory of Games
(`Pendant que vous lisez ces orbitantly for uniqueness and fetish magic : James Joyce
sucez je vous prie le jus d'une cerise.' the "spirit" of the artist as manifested in the Endlessness Bisociation
Cybernetics
F. Picabia) traces of his brushwork or at least in his Ezra Pound -
signature (Yves Klein selling air against a 1 8
signed receipt in 1958). It is time to incorpor- 2 9
10
ate advances in technology to create mass- 3
11
produced works of art, obtainable by rich or 4
12
not so rich. Works where the artist puts as 5 • • • .
Joe Tilson much quality into the conception and the 6
13
14
manufacturer as much quality into the pro- 7
duction, as found in the best hand made
1. Was it in A-1922 works of art. The value of variable form : you 6. Which of these was written by Norbert
B-1932 will never have exactly the same piece as your Wiener :
C-1912 neighbour. I would like to design an extensive A. 'Art is a symbolic discourse of which man
that Moholy-Nagy made his telephone call to series of puppet games, sold by subscription, alone in the universe is capable. He is the only
the porcelain factory ordering five paintings in cut-out sheets; or 3-D dolls (Barbies for tool using, symbol making anti-entropy
to be made for him ? (It was like playing Burroughs project). And robot theater : animal that exists in our universe, and art is
chess by correspondence.') elements that arrange themselves by computer one of the techniques for understanding and
AD BD GD programming' ? dealing with the phenomena presented to our
AD BD CD five senses. It gives us a frame of reference for
2. Was it A—Reyner Banham doing this. The frame of reference given us by
B —Lawrence Alloway 4. Which of these was written by Buck- the visual arts enables us to comprehend and
C—Thorstein Veblen minster Fuller : make sense of what we see, but this does not
who wrote : 'It should be pointed out that A. 'We find that industrialization is in- work on the level of sight alone but can in-
modern technology is not at all the dehuman- evitably headed towards automation, that volve the other senses to varying degrees as
ising process it was in the first industrial is towards disenfranchisement of man as a well. Man sees not with his eyes but with his
revolution (that view went out with Charlie physical machine.' mind, which immediately involves him on
Chaplin's "Modern Times", or should have). many levels at once.'
Related to this hostile dream about mass B. 'But what one learns in chemistry is that
production of crafts-orientated liberals is a Nature wrote all the rules of structuring; man B. 'Since Leibnitz there has perhaps been no
man who has had a full command of all the
belief that because works of art are (as a rule) does not invent chemical structuring rules ; intellectual activity of his day.'
unique objects they must necessarily conform he only discovers the rules. All the chemist
to a canon of luxurious handwork. Thus can do is find out what Nature permits, and C. 'If 36-24-36 explains very little about
artistic personality is identified with sensitive any substances that are thus developed or Sophia Loren, what do words do in relation-
touch. To reduce personal authorship to auto- discovered are inherently natural. It is very ship to painting and sculpture ?'
graphic features, however, is to support the important to remember that.' AD BD CD
conceptual and thematic elements of art,
which are equally unique and personal. The C. 'He does not seem to realize that where a 7.
Which of these was written by Wittgenstein:
works of an artist only require sufficient con- man's word goes, and where his power of A. 'I believe that one of the greatest
sistency to be recognizably his, for estimates perception goes, to that point his control and dangers at the present time has to do with the
of identity to be operational . . ? in a sense his physical existence is extended.' attempt to avoid responsibility in order to
AD BD CD CD avoid the feeling of guilt.'

Contributors to this issue

Joe Tilson was born in London in 1928. He studied at Suzi Gablik is an American painter living in London. Eileen Agar first exhibited in 1936 in the International
St Martin's School of Art and the Royal College. He She has had two one-man shows at the Landau-Alan Surrealist Exhibition at the Burlington Galleries,
has had many one-man exhibitions and has works in Gallery, New York and is exhibiting there again this London, and since then has shown in New York,
a number of public collections, including the Tate autumn. The synthesis of a discussion between Tokyo, and Amsterdam. Her work is represented in
Gallery, the Arts Council and the Gulbenkian Founda- Magritte and Suzi Gablik, A Conversation with René the Tate Gallery and in the Collections of the Arts
tion. Magritte, was published in the March 1967 issue of Council and the Contemporary Arts Society.
Studio International.
Jasia Reichardt, assistant director of the Institute of Gene Baro, a frequent contributor to Studio Inter-
Contemporary Arts, Dore Ashton, American writer George Melly was born in Liverpool in 1926. In 1950 national, also contributes to Art International, the
and critic, and George Savage, member of the council he became a full-time jazz singer, but left singing in London Magazine and other periodicals and is London
of the British Antique Dealers' Association, are 1961 to concentrate on writing. He is now T.V. critic Correspondent of Arts Magazine and Art in America.
regular contributors to Studio International. for The Observer and a member of The Critics panel
of the B.B.C.