Page 25 - Studio International - September 1968

An appeal to M. Malraux even let me nor my dealer know about this problem.
[We have been asked to publish the following appeal The same thing happened to artists like Martial
to M. Malraux concerning the expulsion from France Raysse, Le Parc, Morellet, Mari and consequently we
of Julio Le Parc, Hugo Demarco and other artists.] were forced to retire the very few works which they
did transport. Your critic, Frank Whitford, corro-
Ministre des Affaires Culturelles borates this, and I wanted, since I did not meet him,
M. André Malraux to make a statament, which is as follows :
3 rue de Valois Wonderful. I have been invited to Documenta, to be
Paris I buried by the artists backed by the Capitalists. Of
course I refused with the promise that later I will
Monsieur le Ministre, eliminate them. Fortunately when my other friends
Les artistes soussignés, représentés a la 4e Docu- arrived they spontaneously had the same reaction—
Correspondence menta, s'indignent que des représentants importants Death to Capitalistic art which this time was what
de l'art contemporain tels que Julio Le Parc et Hugo Documenta represented.
Demarco aient été expulsés de France. Par suite de Takis
cette mesure, la situation matérielle et familiale de Villefranche-sur-Mer
ces deux artistes est gravement compromise, ainsi France
que revolution future de l'art européen. Nous vous
prions done de bien vouloir intervener afin que cette
A student's plight
decision snit rapportée. Dear Sir,
This is a begging letter from a starving art student.
Arman, Fernandez Martin, Kenneth
This may seem a cheeky act to some—possibly flip-
Martin, Mary
Cesar, Bladaccini
pant or abrupt (or uncool) as well. However, this
Ücker, Günther Morrellet, Francois
decision of mine to plead my case in a magazine
Colombo, Gianni
Ultvedt, Per Olaf
which has a large circulation amongst people in-
Zolkin Beuys, Joseph
terested in the arts wasn't by any means taken lightly.
Berns, Ben Artschwager, Richard
If I don't beg I will have to thieve, and I would prefer
Thek, Paul Kienholz, Edward
that to be a last-ditch decision.
Alviani, Getulio Heerich, Erwin
Voss, Jan Megert, Christian
Lenk, Kaspar Thomas Chryssa
Graubner, Gotthard Dekkers, Ad
Hauser, Erich
Bonies
Mavignier, Almir Chillida, Eduardo
Rickey. George Camargo, Sergio de
Calderara, Antonio Dobes. Milan
Castillo, Jorge Held, Al
Anuskiewicz, Richard Hill, Anthony
Manders, Jos
Frühtrunk, Günter
Geiger, Rupprecht von Graeveniti, Gerhard
Art commentators' tricks
Dear Sir,
Those fellows speak with such authority (art com-
mentators) but is their next trick impossible?
Yours faithfully,
Laurence W. Preece
Putney
London SW
75 years ago
Healey and Hoenich The Eclipse Carrier, sent us by the makers, who write
Sir, from 180 West Regent Street, Glasgow, is a novelty of
I wish to commend you on your June issue; your evident value. By an ingenious arrangement it enables
interest in the work of Healey and Hoenich—the im- two wet canvases of the same size to be carried safely.
portance of such works to the future of the total In appearance it resembles the familiar strap that
environment of man. library subscribers use for books; but the added pieces
Sincerely, of iron having projections which prevent the stretchers
Christine Mullen binding each other give it its peculiar usefulness. Costing
Detroit two shillings or half-a-crown, it should be found a very
Michigan popular addition to a sketching outfit, and will doubt-
U.S.A. less be an indispensable item for summer travellers.

Documenta protest 50 years ago
After I left Venice I went to Documenta where I Paris. —The sale early last month of the pictures and
supposed to exhibit my electromagnetic works. I was studies by Degas drew an attendance unequalled by any
astonished when I arrived to find that these works had similar event in recent years, and the prices realized
not arrived. After enquiring with Jurgen Haten and were extremely high. The most important canvas, the
Mr Leering the excuse they gave was that because Portrait de Famille, in which the influence of Ingres is
of the strikes in France the rate of transportation was seen in combination with Degas' later manner, was
higher and they could not a/ord to pay. When I asked sold to the Louvre for 400,000 francs; a ballet scene,
how they could afford to transport three more works Quatre Danseuses, fetched 132,000 francs; and one or
in number of other artists, they bluntly told me that two other works brought bids nearly as high. The sale
the transport was paid by the galleries or by the lasted three days and realized in all 5,602,400 francs
artists themselves, where in my case, they did not (approximately £224,000).