Page 37 - Studio International - January 1969

The concerns of emer in scul tors
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Roland Brener

At this time, for the sculptor to develop a which the sculptor must make some form of reasonable for the artist to make one bold state­
critical attitude not only towards the sculpture compromise. As an artist it would be absurd to ment which he then consolidates and refines
being produced, but the context in which it is adopt a moralistic attitude towards those artists until it ceases to elicit a positive response? Art
made and exhibited, is necessary. who have received a degree of public recog­ can evolve only to a predictable point within
As it exists now, when considered as a special­ nition and work within the existing structure. an established idiom and the gallery type sit­
ized activity relating to a spectrum of other The argument for a system based on different uation is in itself restrictive enough to limit
activities, sculpture is of trivial consequence: criteria can be seen as one of expedience rather sculptural possibilities. The New Generation
it does not change or influence the way people than idealism, for the cost of being a sculptor sculptors accepted this limitation and have not
live, disturb their prejudices, or have as much in England ensures that dependence on a up till now questioned or analysed their mode
potential in challenging their perception as moneyed elite of patrons will remain constant. of exposition. The (theoretical) concern with
many other visual media. However, a situation free from pressures to 'realness' and 'openness', the attempt to free
When considered as a pure creative form conform is an abstract concept. Freedom exists sculpture from a descriptive function and asso­
which is its own justification, sculpture never­ when one recognizes the nature of the pressures ciative connotations fail if the work relies for
theless has many anomalies which could do and one's own response to them. In other words its success on the specialized environment made
with some criticism. If current attitudes are it exists presuming the artist is aware of his im­ for it: The contrived social and environmental
indicative offuture policy it seems unlikely that potent social and ethical position or the basic situation in which it works best is its own con­
sculpture will become a permanent feature of duality of his values. tradiction.
our environment, unless as a whimsical decor­ If developing sculptors feel that the commer­ So if it were possible to make generalizations
ative extension to architecture. That is, as it cial system operating now cannot absorb them about the concerns of emerging sculptors their
exists now. It is primarily through exhibitions they must attempt to bypass what they see as problems could be defined in opposing ways:
r
that sculptor and public relate. Unfortunately an exclusive situation. Dealers' galleries have (a) They are working f om a conceptual basis
the criteria on which this relationship is based neither the space nor the financial means to as contributors to a theoretical continuum
are arbitrary to the content of the work show young sculptors who cannot be con­ dealing with accepted sculptural problems.
and meaningless outside the given situation. sidered a good investment, especially if the (b) They are paradoxically forced into a rad­
Accepted methods of showing sculpture, in sculpture is too large to be accomodated by ical position in their quest for recognition and
galleries, museums and temporary exhibitions most private buyers. If the galleries are unable security.
reinforce the general image of the sculptor as to provide an outlet the sculptor is dependent, At Stockwell Depot I am participating with
a minor transitory performer. Lack of empathy for the privilege of showing his work, on selec­ seven other sculptors in a situation which could
between artist and viewer arises because they tions made by exhibition committees and other be regarded as an experiment in extending per­
do not communicate on a basis of equality. In organizers, whose motives and knowledge are sonal criteria to cover the full cycle of involve­
most exhibitions the work exists on a par with often more than suspect. ment from concept and raw material to ex­
ritualistic or fetishist objects with the viewer in For those on the outside the 'art establish­ position and feedback. The depot is a large
the denigrated role of one who has come to pay ment' seems conspiratorial and impregnable. (17,000 sq. ft) redundant brewery that serves
homage, a situation obviously precluding any From the inside it seems mythical- it does not as a work space and exhibition area. The first
form of meaningful dialogue. At the same time, exist, except possibly with reference to others. exhibition held there (May '68) received an
in defence of the artist, the onus is on the The passive attitudes of the established sculp­ unexpectedly forthright response, not only
viewer to experience the work from the stand­ tors are not to be blamed, they have achieved from those with an immediate interest, but
point the artist assumes. The effort not to make what they need-a secure situation conducive from a broad cultural cross-section of people.
judgements based on familiarity or precon­ to the making of their work. The needs of the The reason was the openness of the situation:
ditioned responses seems to be more than most emerging sculptors are no different but in order the sculptors involved were generally available
people are prepared to attempt. to achieve that degree of security they must for information and comment and the building
It is made quite apparent that the prevailing reject the precedents created for them. provides varied spaces which have a positive
system will not change radically by the com­ Caro infused dynamic potential into British character and atmosphere. The work itself
placency of artists already integrated into the sculpture and this was exploited by the 'New could be criticized for the degree to which it
existing commercial structure and the inability Generation' sculptors to a limited degree. The interacted or did not interact with the space
of authoritative bodies to anticipate change initial excitement felt at the first New Genera­ and for the tentative or gestural quality of
( e.g. the new 'progressive' administration of tion sculpture exhibition has faded, despite much of it. This could be a result of the short
the ICA and the opening of the Hayward Gal­ the continuing efforts of the Whitechapel Gal­ time we had then occupied the building and
lery, a totally unimaginative and inflexible lery to contrive annual experiences of a similar difficulties in relating or even deciding the
exhibition space). The inane standard of nature. In the exhibition of 1965 the salient degree to which we should relate to each other.
British art-criticism, oriented more towards common factor was the apparent emancipation We do not share a common style and exist as a
verbal stylistic conventions than visual or social from traditional conceptual inhibitions. That group only in that we are all in one place at one
analytical thought, is an essential contributory exhibition resulted in wide-spread recognition time. Whether or not any work of importance
factor to the perpetuation of outdated stan­ and acceptance of the sculptors and their sub­ will ever be made or shown at Stockwell re­
dards. sequent work has perhaps suffered as a result. mains to be seen. The potential in the situation
That sculpture is produced seriously at all is They have, for the most part, lapsed into a exists because the artists themselves are solely
due to a minority interest and sponsorship with form of sculptural rhetoric, but perhaps it is responsible for its success or failure. 0

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