Page 20 - Studio International - February 1968

critics write? And where and when? Was what they evaluation is sheer nonsense for the simple reason wholly independent of man, how does he expect each
wrote published in New York-where it would have that art always has gone its own way and in tact its man to determine its function? Of course, it depends
most chance to encourage ?-as my own articles in very nature puts it out of the control of man. what you mean by control but any view of art that
praise of the Americans in the mid-fifties were? If the It is not Mr Lynton's views which move me to reply, ignores the essential premise that it is made by man
French reacted before we did in favour of American but his eminent position in art education and criti­ for man and is the product of conscious as well as
painting-where did it show? And surely Mathieu cism-a position of trust not deserving of debasement unconscious factors is ludicrous. i rather wonder
owed more, originally, to Wols than to New York? by pompousness. what Mr Dallwitz, who states that he lectures in the
The overwhelming impression I have of the mid-fifties Perhaps the crux of Mr Lynton's argument (and I history of art, lectures about.
is that Paris ignored the New York painting while hope I have interpreted him correctly) is that 'happen­ My point was not that happenings are wicked or
London welcomed it, acclaimed it unreservedly and, ings', as art, are unworthy because they are imper­ valueless but that, at a critical time for art, they dis­
for the time being, followed it. This was confirmed in manent. He says, 'The essential function of art is to tract attention and energies from central problems
the statement which I quoted In my article by the late last.' and actually encourage the tendency of qur world to
Frank O'Hara, the American critic. D Surely this is a classic example of the mental attitude equate art with entertainment, personality cu It, instant
against which we as art lecturers and art critics must effect, etc. I do not say happenings are false gods, but
fight tooth and nail. How easy and how self-deceptive that happenings, when made into gods, are false
Correspondence to make a clear-cut decision as to what constitutes gods. And I continue in my belief that they are not in
art, and then confidently and categorically condemn the full sense art because, being entirely transitory,
Gods and Happenings certain aspects of art by applying the yardstick of they are without communicable and evaluable expres­
Dear Sir,· self-invented standards. Such a critic cannot be sive form. I did not say that 'they are contaminating
Norbert Lynton (Studio International, Nov. 1967) sees wrong-he makes the rules and he gives the decisions. art'; I have a suspicion that art is not contaminable.
himself as a divinely inspired Old Testament prophet The essential function of art is determined by each Mr Dallwitz offers us his belief that 'the art of paint­
thundering the will of God from the base of Mt Sinai. individual exponent and again by each individual ing will never be superseded', and says that I share it.
His pronouncements are so wide of the mark of truth recipient. I have seen a 'happening' which moved me I do not. It surprises me that someone with a know­
as to warrant some repudiation. and I believe that it will last in my memory for the rest ledge of art history should wish to think like that, but I
In Mr Lynton's eyes 'happenings' are like false gods of my life. Mr Lynton will no doubt concede this, and I should certainly not want to assault him personally
luring mankind from th� one true God. In fact Mr agree with him that 'happenings' have no connection for this belief, nor even for expressing it in public.
Lynton's intolerance is no less excusable than that of with the art of painting. I am attacking him because
Moses, Isaiah and other biased enthusiasts of a he makes a fuss about it, because he is trying to make The New York scene
previous era. something sacred out of art, trying to save art from
The attempt to bring this kind of argument into art contamination. This is pompousness on a par with In this issue we publish an article by Jean Clay, a
that of decrying humour in music. leading French critic, on some of the pressures to
To many artists and many art-lovers 'happenings' which the visual arts are subject in New York. The
are an extension of the art of painting. To many others article is based on impressions gained during visits
they are one of the phenomena which are replacing last year, and inevitably certain details have been
the art of painting. We know that this is so because overtaken by time-the neglect of Albers has been
74 years ago they have told us so verbally and in their writings. somewhat mitigated by the marking of his 80th
Now I believe, and Mr Lynton believes, that in fact birthday; Gabo is due to have an exhibition; 'minimal'
the art of painting will never be superseded. But it has supreseded 'cool'; the 'Cheetah' has closed.
has been added to and it will continue to be added to. However, we have chosen to print the article without
And why should Mr Lynton or anybody else be so sure editorial 'up-dating' both because the pressures
of his judgement as to state publicly that 'happenings' remain and because the criticisms voiced by Jean
are not art or that they are contaminating art? Clay reflect those of a number of European critics.
Eminent artists produce them, thousands (perhaps
including Mr Lynton) find them provocative. To Obituaries
describe them as 'a treacherous line of regression' is
a presumptuous attempt to place a straitjacket on Arnold Riidlinger-Federspiel
the creative instinct. John Plumb writes:
I am, It is always sad to learn of the death of a friend, and
Yours sincerely,
David Dallwitz the death of Herr Arnold Rudlinger-Federspiel on
40 Myrtle Road, 16 November was a loss which will be deeply felt by
those painters, sculptors and others in this country,
Seacliff 5049,
South Australia in Europe and in America, who had the privilege of
meeting him and getting to know well his exceptional
qualities as a man and as director of the Kunsthalle
(Mr Dai lwitz is a lecturer in the history of art. He is also at Basle.
a practising artist.] He was director for some 12 years and in this time
was one of the first to recognise the revolution which
A patriotic and discriminating few already insist on had taken place in American art. He was instrumental
the advantages of English-made silks; it rests with the Norbert .Lynton writes: Mr Dallwitz's letter, taken in the acquisition by the Kunstmuseum at Basle of
English designers, manufacturers, and distributors to literally, requires us to accept that some notable examples of the work of New York
convince the many they can secure equal instrinsic 1. anyone seriously engaged in the field of art and painters, including one of the finest Barnett New­
value and better design and colour in silks of English education is not at liberty to express opinions unless man's I have seen.
manufacture. he be Mr Dallwitz, and that He responded, too, to the work of young English
Lasenby Liberty in 'Spitalfields Brocades' 2. anyone critical of any aspect of the contemporary artists and staged an exhibition at the Kunstalle in
art scene must necessarily be against change. 1963.
This is as boring as his general tone, and I daresay It was his wide-ranging activity, his obvious love of
The March issue we should overlook both (but I can't help wishing he painting and sculpture and his strong respect for
had watched his manner of expression when attack­ the artists which made him such a notable director.
The March issue of Studio International will include ing mine). He followed his own convictions and sought out those
articles on the work of Mary Martin and Jeremy Moon; He makes vague accusations and supports them artists who interested him, and being very little con­
coverage of the de Stijl exhibition which opens at the with curious assertions. What is this art that 'has cerned with current aesthetic judgements he led
Camden Arts Centre at the end of February; and an always gone its own way', whose 'very nature puts it than followed. His friendship, and constant readiness
article on British romantic painting of the 19th out of the control of man'? Who then makes it, and to welcome artists visiting Basle, will be sorely
century. for whom? And if he believes art to be a growth missed.

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