Page 21 - Studio International - February 1969

fascinating Bauhaus show recently. I say 'com- ing the catalogue; and criticisms on the show. Sculpture and
pete', but I do not mean that aggressively, 2. This room could also be a place for dis-
because I am sure we all feel that what Lon- cussions and talks for artists, critics, serious
don gets rather than where it goes is the over- collectors and gallery people. Young artists reality
ridingly important thing. could show and explain slides of their work.
Here are the reasons why I think the White- Visiting foreign artists could do the same.
chapel will continue to make a special con- Food and drink could be laid on on appro-
tribution. priate occasions. In this atmosphere we might
First, it is a very beautiful gallery with a very be helped to. distinguish what is phoney or
special light and atmosphere. For some exhi- boring from what has integrity and vitality;
bitions, especially of large paintings, it is the what has novelty value from what is serious,
most suitable and beautiful in London. I am radical and good. It might provide an at-
going to be extremely presumptuous and say mosphere in which art was considered neither
that if I were Kenneth Noland, for example, I as religion nor as entertainment, but as an
would prefer to show at the Whitechapel, hav- activity, with its own life, to be practised and
ing examined the architecture, space and appreciated for its own sake. A recent article by William Tucker (January
lighting elsewhere in London. Also, although One last word. I hope Bryan Robertson, whom issue) raised some questions of the relation
the Tate and the Hayward are nearer the I only met twice before I was appointed, and between sculpture and reality which deserve
centre of London as the crow flies, they do not who is being tremendously helpful to me more attention. Implicit in a view of the rela-
have the advantage of an underground station without at all interfering, will not mind if I tion between an art and reality is a view of
bang on their doorstep. Added to this I like to put on record a small tribute to him. I so well the social relevance of that art form. The
have it both ways and think that visitors to the remember the great experience of coming social relevance of any particular sphere of
Whitechapel are in some way delightfully from Cambridge in 1958 to see the Pollock human endeavour is determined not only by
sanctified by the trouble they have taken to exhibition and the Whitechapel for the first its nature and the qualities of those wholly
make the journey. time. From then on I was a regular visitor. It engaged with it, but also by the attention
The second reason why I hope and think that is easy to read history backwards and forget which is given to it by people not primarily
the Whitechapel will be able to hold its head how much we have benefitted from this and involved. The nature of the attention given
up is that as far as I understand it the Director similar exhibitions. As everyone knows, the to any particular sphere of endeavour, from
is very free. The source of important artists Whitechapel is what Bryan Robertson has outside that sphere, is a critical factor in
with established reputations overseas may dry made it over the last fifteen years. Its architect, determining what happens within it.
up. The greater and in many ways more its Trustees, its benefactors and previous direc- It is a characteristic of contemporary art
exciting challenge of discovering the really tors have played a highly important sine qua non forms that they are of little immediate social
remarkable artists who are as yet little known role of course. It has also had other brilliant relevance.
remains. periods over the last sixty-seven years : but It seems to have been Tucker's hope that
Finally I would like to suggest a practical way basically the things it stands for now, such as a sculpture of a new kind would, by virtue of its
in which the Whitechapel could help raise the divine impatience with insularity, combined internal properties, force itself on the world
level of criticism and appreciation and per- with an inspiring, full-blooded and fully justi- in a new way. He wrote, with great eloquence,
haps conceivably even the general level of art fied confidence in British artists, are things of an 'Object World' and expressed some con-
itself. I make this suggestion, I hope not tact- that existed and continue to exist in Bryan cern that the potential of sculpture to imagi-
lessly, before having had time to consult the Robertson's mind. How right he was to take natively articulate that world was not being
Whitechapel Trustees and benefactors and in risks, to be so sensitive to people and ideas realized. Tucker's concern is clearly for the
particular the Greater London Council. At and not to be a mere grey administrator. survival and development of sculpture as an
the moment the Upper Gallery, Whitechapel, He has also given the new Director something art form, that is, as a means of formulating
a long and potentially beautiful room filled to live up to. and articulating concepts from the realities of
with light by its glass roof, is rented to the MARK GLAZEBROOK human experience. His concern is not with the
Greater London Council who use it most use- social status of the sculptor or the more general
fully for educational purposes. This rent is social relevance of sculpture. Exactly what,
more than gratefully received as the White- then, is he drawing our attention to when he
chapel's finances are precarious. (I am amazed Forthcoming scheduled exhibitions at the declares that there was unfortunately no place
by the miraculously small budgets on which Whitechapel Art Gallery are: in the world for such (Object) sculpture, with
they have worked.) If one could persuade the Oiticica 25 February — 6 April its potential to undermine a comfortable world
GLC that an equally if not more valid educa- Helen Frankenthaler 7 May — 8 June view ?
tional policy could be pursued by reunifying Robert Downing 17 June — 13 July A few observations on the character of the
the Upper with the Lower Gallery as the `Object World' seen in relation to sculpture
founders and architect (Harrison Townsend, will reveal that there are similarities, other
a follower of Charles Rennie Mackintosh) than those physical similarities to which
intended in 1901 there would be a number of Tucker refers. The 'Object World' is formed
useful results. in response to a bewildering complexity of
1. Drawings, studies, working methods, early human needs and desires. Tucker has already
work and background material, a corrective to pointed out the extent of our involvement with
the impression that artists spring forth in mid- it. It articulates the needs and desires which
career fully fledged, could be shown upstairs. it ostensibly exists to satisfy. It propagates
Shown downstairs, this sort of material would itself through actually failing to give satis-
only make a fussy little distraction which faction or through the creation of more needs
would destroy the continuity of the full visual and new desires. It is essential to the life of
impact and experience of some exhibitions. the 'Object World' that no object should be
Upstairs could also be a good place for read- wholly or permanently successful in all aspects
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