Page 14 - Studio International - February 1968
P. 14


       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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