Page 17 - Studio International - November 1968
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ties. The College assumes that faculty are  screens, skeletons, plaster casts, anatomy  Breder at the University of Iowa with his
             practising artists, making their living through  charts, and the dusty still life, with plastic  illusions of infinity in aluminium and pers-
             art rather than teaching, and this is very  flowers and nailed objects. In the class are  pex. A colourful happening by girls in cos-
             possible with the opulent patronage of  students of every age, from seventeen to  tumes of phantasy at the Corcoran School of
             America. Therefore, some staff regard their  seventy : veterans, housewives, amateurs,  Art, Washington DC. The private collection of
             teaching as of minor importance, treating  undergraduates and diploma students. All  paintings and sculpture of Vance Kirkland
             the school as an atelier where their presence  full of honest endeavour but faced with many  of the University of Denver. An exhibition of
             as an artist is sufficient inspiration.   problems : timetables, lessons, hours, credits  negro poverty, photographed by a negro, in
              The students differ also, especially in their  and grades: studying each subject, or just  the art gallery of the University of Alabama.
             previous art education. Unlike the British  one, a few hours a week. Never being  Students discussing their work, and explain-
             system of art in schools, from primary  allowed to leave work out, but putting  ing their aims, at the Tyler School of Art,
             through secondary, there is no national  everything away in racks and cupboards  Pennsylvania. Faculty of the California State
             system in America. It is not unusual to find  after each lesson, as different classes will  Colleges with exhibitions of crazy ceramics
             art, as a subject, non-existent or poorly  use the studio in the mornings, afternoons,  and funk forms. An open forum of students
             established in a school. Sympathy must be  evenings and Saturdays. In the university  of art, architecture and music at Auburn
             felt not only for the pupil but for the faculty  the student may have many subjects and has  University, Alabama.
             of the art school, frequently faced with  to abide by the timetable; art history is of   In Manhattan, no way representative of
             students totally ignorant or ill-informed  slides, postcards and reproductions ; practi-  America, there are sculptures in the streets;
             about art. Entry requirements vary con-  cal work, fitted in for a few hours, becomes  happenings in museums; EAT—Experiments
             siderably. Some schools accept anyone.   the acquisition of technical knowhow. These  in Art and Technology; SMS, 'a portable
              British art was as familiar there as American  are the worst extremes. For there is growing  gallery of contemporary hyper-awareness',
             art is here, but there was ignorance of the  awareness, and, among younger faculty  published by the Letter Edged in Black
             British art school, its methods and approach.  and older students, unrest. There are ideas,  Press; and involvement with intermedia, and
             My many lectures became increasingly con-  imagination and ability. Emerging are works  all the possibilities that offer in art and
             cerned with this aspect of the British art  in new media; light, sound and movement:  education.
             scene, particularly the progressive work of  in some schools, almost surreptitiously,   There should be discussion, for argument is
             the Fine Art Department of Leeds College of  amongst the pencil sketches and water-  sorely missed in America : one only has time
             Art. There was genuine interest in the  colour views. Schools are attempting to  to be right. With distances so great, discus-
             work and attitude. Although some faculty  reconcile the many demands made on them,  sion is difficult. There is a feeling of isolation,
             showed open resentment, many were sym-   and to meet many problems; inevitably,  although this has its advantages.
             pathetic, if not openly, then privately, for  among them, finance. Art departments are   To the artist, this lack of communication
             their tenure was not secure. The students had  attempting to establish their independence  often provides the opportunity for long
             no such reserve, and, even if not, in total  and individual purpose. The difficulties are  periods of concentrated work. This single-
             agreement, would comment on everything :  many, but so are the opportunities in a  minded purpose and persistence is very
             joy at seeing no easels; astonishment at  wealthy country.                        apparent among American artists. Along
             materials and equipment; excitement with   There are those who do care. In all parts of  with patronage, isolation could be one of
             the work ; amazement at the permissiveness ;  the country there is evidence of awareness  the reasons for the strength of American
             happiness with happenings and events; and  and involvement: California has state col-  Art. With patronage comes competition, an
             envy at the opportunities available. All stu-  leges where art departments are attempting  inclination towards jealous guarding of new
             dents were acutely interested and eager to  to relate art to technology, the humanities  ideas and a stimulation towards production
             know more. Appreciated as much as any-   and other disciplines. At Kansas City Art  of work. There are real opportunities for the
             thing was my willingness to talk, discuss,  Institute huge sculptures on the campus and  artists, unheard-of here. An artist can exist
             and argue informally. For the relationship  projects concerned with vast earth-moving  on art alone, with teaching a secondary
             between faculty and students, particularly  schemes as sculptural form. The Art and  activity—another reason for the present
             outside the studio, can be very formal,  Technology group in Los Angeles including  situation, and for the discrepancy between
             especially by British standards.         artists, engineers, musicians, film makers,  the art school and the art scene.
              In the corridors of certain art schools one  chemists, and even a dentist. Graduate   Finding such discrepancies shows how
             sees tired nude sketches in pencil ; conté   students of the School of Art of the Institute  dangerous preconceptions can be, for from
             copies of the Swiss Alps from post cards;  of Chicago with work in felt, plastics, metals,  the experience of American art, one would
             lifelike portraits of ladies in evening dress ;  wood, lights, film, slides, movement, kine-  expect a Utopian Art School situation. As
             drawings showing how to shade properly;  tics, psychedelia. Happenings and events in  should be realized this is not so, and, al-
             ballpoint scribbles of bony anatomy; and  California. Progressive work at the Maryland  though there is much evidence of change,
             the vanishing lines of endless perspectives.  Institute of Art. A brilliant lecture on Ameri-  the pencil and easel could still symbolize
             In the studios are the easels, thrones,   can Art Education by Dan Flavin. Hans   many American art schools.

             Peter Schmidt, born in Berlin in 1931, studied at   Gallery, and has just returned from Canada where he   on a book on de Stijl ; Edward Lucie-Smith the
             Goldsmith's College and the Slade School and since   was one of the international jury judging the exhibits   writer; Cyril Barrett, Senior Lecturer in Philosophy
             1958 has taught at Watford School of Art. He has had   for Canadian Artists '68.   at Warwick University and a frequent contributor to
             one-man shows at the Beaux Arts Gallery, Curwen                                   art magazines; and  Stephen Willatts  the artist,
             Gallery and Galerie Hans Mayer, Stuttgart.   Dore Ashton, the American critic, is a regular con-  who works in London and is Editor of Control maga-
                                                      tributor to Studio International.        zine.
             Andrew Forge is Head of the Painting Department
             at Goldsmith's College.                  Charles Harrison is assistant editor of Studio Inter-  Correction
                                                      national.                                In an advertisement for Redmark Gallery on page xii
             William Turnbull, the sculptor, has had exhibitions   London commentaries are by  Paul Overy,  who   of our October issue Ruocco's name was misspelt.
             recently at Waddington Gallery and the Hayward   reviews art for The Listener and is currently working
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