Page 14 - Studio International - February 1968

COMMENT

Michael Kustow
Michael Kustow outside the portico of Nash house. Photo: Graham Keen

When my friends ask me how the new ICA worrying away at, and which will find exists for three hours each night, and
is going, I tend to answer, Very fast, and in their way in some form into the new ICA nothing but memory, a few photographs
too many directions at once. Everything I at Nash House. and a clutch of press cuttings will survive.
have experienced since I stepped into the For example, the last few Comment The difference between most happenings
hot seat in December feeds its way into my columns in this magazine have been I have seen and true theatre is that theatre
developing vision of the ICA's job in its nagging away at things which will very is repeatable, albeit with variations each
new premises at Nash House, Carlton much concern the new ICA. Norbert night. Most happenings in this respect
House Terrace, every picture I see, sound Lynton cast doubt on the value of hap­ don't go far enough. They still seem to
I hear, newspaper I pick up, economist, penings and events as lasting means of accept the mystique of the unique object,
actor, politician, biologist or film-maker expression, and Harold Cohen tried to the one-off experience. This produces
that I meet-all make me re-examine the describe the personal implications for work which, while not satisfying 'art­
map I am preparing for the journey, him of multi-media public art, such as he lovers', leaves 'theatregoers' pretty cold
become aware of new features of the saw at Expo 67. I think two things should too. Bad happenings deny the combustive
landscape, adjust my luggage accordingly, be said here. First, as someone from the process of good acting. A Mcluhanesque
consider a fresh itinerary. theatre, I am intrigued to discover just 'brushing of sensory stimulants' replaces
Which is to say no more than that these how many visual artists are becoming the real creative grind which every painter
thoughts too are travelling thoughts, fascinated by duration in time, per­ or sculptor undertakes, even when he
reflections at a crossroads where more formance, 'theatre' in the most basic delegates some part of the process to
and more roads meet, where the sound of sense. Such things distress the art Gritic technicians. It is something like this lack
the traffic is deafening, and there is because 'the essential function of art is of personal engagement which troubles
already too much chatter, too many to last' (Lynton), and performances are Harold Cohen from the standpoint of a
opinions settling like bats on the skin .... ephemeral. But theatre is an art whose painter. He should realize that a play­
No, these travelling thoughts will not be whole grandeur and poignancy consist wright, director or actor would find most
conclusive, just some of the things I am in this ephemerality, the fact that it only of these events equally unsatisfactory.

Contributors to this issue

Dore Ashton, American writer and critic, and Paul Michael Kustow, Director of the Institute of Contem­ Patrick Heron was last year given retrospectives at
Waldo Schwartz, Paris art critic for the New Yori< porary Arts since December 1967, was born in 1939. Richard Demarco Gallery, Edinburgh, and in Oslo.
Times, are regular contributors to Studio International. He read English at Oxford, and after working in the His work was described in detail by Ronald Alley in
theatre at Lyon with Roger Planchon spent a year at the July/August issue of Studio International. Heron's
Jean Clay, the French art critic, is a regular contribu­ Bristol, acting, directing and writing. He edited Encore contributions to the New York magazine Arts in the
tor to Realites, and contributing editor to Studio and worked for a time with Centre 42. Since 1963, he mid-50s were of importance in securing support for
I nternationa/. has worked with the Royal Shakespeare Company post-war American painters.
where he edited Flourish, created the mobile theatre
Charles Harrison, Assistant Editor of Studio Inter­ unit of the RSC Theatregoround, and worked with Gene Swenson, the American critic, has been closely
national, studied art history at Cambridge University Peter Brook. associated with the American Pop art movement.
and the Courtauld Institute.
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