Page 21 - Studio International - December 1969
P. 21

response absolutely intrusive;  a kind of filter   CH: Do you think then that every exhibition   dealers, critics, exhibition organizers, etc.?
           between the work and everyone else.       organizer has only a limited time before  his   ss:  Yes,  very  definitely.  I  doubt  whether
           ss: It's a question of  where an artist will give   activity becomes harmful to the artist?   artists  have  ever  been  so  articulate  about
           up  his  choice.  This  is  a  vitally  important   ss:  Only  if  he's  successful.  Yes.  Because  his   what they're doing as they are right now. 1
           difference  between  the  new  work  and  what   opinions  begin  to  become  more  important   CH:  So what's the nature of  the new relation­
           has preceded it. Whereas painters have gener­  than what his opinions are about.    ship?
           ally  never  specified  how  much  light  their   CH:  Important for whom?          ss:  There  are  really  two  types  of  people:
           paintings  should  be  seen  by,  what  size  wall   ss: For the people who are aware of  the exhi­  artists and everyone else.
           they should be hung on-they have left it up   bitions he is doing.                  CH:  Artists  have  art  and  everyone  else  has
           to  you  implicitly -:-- this  new  body  of  work   CH:  Do  you  think  the  development  of  this   relative amounts  of  power  to manipulate  or
          explicitly denies any responsibility for presen­  situation can effect the artists?   promote art. So where's the relationship and
           tation. All you need to see a painting is light.   ss: It can only be detrimental to the artists for   what's new about it?
           This  new  work  doesn't  even  concern  itself   the same reasons.                 ss:  The  need  for  an  intermediary  begins to
           with that. The question of what environment   CH:  Do you  think  this now  means that it  is   become  lessened.  The  new  work  is  more
           you  see the  work  in has  nothing to do  with   dangerous for artists to be associated with you?   accessible as art to the community:  it needs
           what has been done.  If it is made clear that   ss: I don't know. Certainly right now it is.  I   fewer interpretive explanations.
           the presentation of the work is not to be con­  may  be  a  total  bind.  I  don't  really  know.   CH:  Do you think art ever needed interpretive
           fused with the work itself,  then there can be   There are certain artists who interest me right   explanations?
           no misreadings of it. If an audience is  made   now who would conceivably be the focus for   ss: I don't know anything about history, but
           aware of an artist's work and he knows that   some interests of mine. I feel my dilemma now   the art we're talking about seems to be much
           how he is made aware is not within the artist's   is to be able to deal with art generally but not   more self-explanatory than any other.  It just
           control or concern, then its specific presenta­  get involved specifically  with specific artists.   goes from mind to mind as directly as possible.
           tion can be taken for granted.            Everyone's pushing artists; which is OK, but   The need for a community of critics to explain
           CH:  How do you make it clear?            I want to move away from that.            it seems obviously superfluous right now.
           ss: The standardizing of the exhibition situa­  CH: Is there anything to move into?   CH:  Is this perhaps because they have fewer
          tion begins to make the specific intentions of   ss:  I  don't  know.  I'm  still  interested  m   specifics to deal with?
           the artists clearer.                      distributing art and art information. I person­  ss: Yes.  I think a  basic underlying tendency
           CH:  Do you feel that  this  new  work  cannot,   ally value my network of booksellers and my   in all art today is the ability of the artist to set
          by its very nature, be misused as earlier work   mailing list throughout the  world  as  a  very   general  limits  and  not  care  about  being
          has often been in mixed exhibitions?       important  aspect  of  what  I  do.  I  am  con­  specific.  The tendency in practically all  art
           ss:  No.  By  selection you could  choose  ideas   cerned with getting art out into the world and   today is towards generality about how things
          between artists  that parallel each other,  just   plan  to  continue publishing  in  multilingual   look rather than what specific things look like.
          as you could pick up fifty stripe paintings and   editions  to  further  this  end.  This  is  a  very   CH:  How  can  this  be  made  explicit  in
          make  them look more alike than they really   important  communications  consideration.   exhibitions?
          are. You could load any exhibition situation   American museums, with typical chauvinism,   ss:  By  organizing  exhibitions  in  which  the
          in the same way. Orienting a show is not any   never publish in more than one language-just   general conditions are proposed to the artists
          more or less possible than it was when paint­  English.                              and  the  decisions  about  specifics  are  left
           ing was painting and sculpture was sculpture.   CH:  This  implies  that  despite  being  a  New   entirely to them. Artists are the best judges of
          You can still make anything look like what you   Yorker, you are interested in decentralization.   their own  work.  The  general feeling one  got
          want it to. Figures don't lie; accountants do.   ss:  I  think  that  New  York  is  beginning  to   from  Harald  Szeemann's  show  'When Atti­
           CH:  So how has your function as an exhibition  • break down as a centre. Not that there will be  tudes become Form' -the nonchalance of it­
           organizer been different from anyone else's?   another city to replace it, but rather that where  did much to enhance the viewing situation for
           ss: By keeping the exhibition situation as uni­  any artist is will be the centre.  International  individual works.
           form as possible for each and all of the artists   activity.  It is more important to send artists  CH: Maybe the most important thing a critic
           in the exhibition  and not relying on outside   to exhibitions  than  to  send  art.  Art  centres  or  organizer  or whatever can do is to  draw
           verbal  information  like  catalogue  introduc­  arise because artists go there.  They go there  attention to what is  art by isolating  what  is
           tions,  thematic titles, etc., I've tried to avoid   because of (I) geographic and climactic factors  not and acting to devalue it. 3   [sEPT. 1969]
          prejudicing the viewing situation.         (2) access to other artists (3) access to informa­  1  'What I  say  is  part of the  art work.  I  don't look  to
           CH:  This holds good as  long  as  no  one  can   tion  and  power  channels  and  (4)  money.  critics to say things about my work. I tell them what it's
          begin to identify a 'house style' in what you do.   These  factors  are  now  becoming  balanced  about' -Douglas Huebler.
           ss: True. Failure is imminent. Unfortunately   throughout  the  world.  To  be  part  of  this  2  'When Attitudes become Form' was first shown at the
           over a period of twenty exhibitions one begins   changing situation interests me very much.  Kunsthalle, Berne, in March/April  1969,  and has also
           to  become the theme and the  cement;  which   CH:  Do  you think  the  new  art  has  forced a  been  seen  in  Krefeld  and  at  the  ICA  in  London
                                                                                               (August/September 1969).
          begins to be as offensive as prefaces, thematic   new  relationship  between  artists  and those  3  'I  want  to  remove  the  experience  from  the  work  of
           titles etc.                               involved  in  art  in  a  secondary  capacity-  art' -Joseph Kosuth.

           STEPHEN BANN is lecturer in the Faculty of Humanities   BARBARA REISE is a senior lecturer in the history of art at   ROBERT GORDY, the American artist, lives and works in
           at the University of Kent. He is working on an antho­  Coventry College of Art.     New Orleans.
           logy of Constructivist documents.
                                                     DORE ASHTON, the American critic, is a regular contribu­  CHRITOPHER Fox is studying at the Slade School of Art
          JASIA REICHARDT is assistant director of the Institute of   tor to Studio International.  and devotes a large part of his time to writing.
           Contemporary Arts. She organized the Play Orbit exhi­
           bition currently at the ICA.              EDWARD LUCIE-SMITH, poet and critic, recently returned   ROBERT RAUSCHENBERG, who has had major exhibitions
                                                     from  a  visit  to  Scandinavia.  His  book  on  'The  Arts   at  the  Walker  Arts  Centre,  Minneapolis,  the  White­
           ERIC  ROWAN,  a  painter  who  has  recently  exhibited  in   since  1945'  was  recently  published  by  Thames  &   chapel Art  Gallery,  London,  and  elsewhere,  was  one
           New York and with the 56 Group in London, Ireland   Hudson.                         of  the  American  artists  represented  at  the  Venice
           and Scotland, teaches at Cardiff College of Art.                                    Biennale 1966.
                                                     RICHARD SMITH, whose work was shown at the Galleria
           PAT  GILMOUR  has  just  completed  a  book  on  modem   dell'Ariete in Milan last spring, is currently engaged in
           prints which is due to come out in the spring, and writes   making graphics in Italy and London. His recent work
           regularly on graphics for Arts Review.    is on show at the Kasmin Gallery until mid-December.
   16   17   18   19   20   21   22   23   24   25   26