Page 60 - Studio International - June 1969

are rejecting the traditional value of the
enough. The problems that arise, however,
unique object and the economic barriers that concern quality. While I don't believe it is
artificially limit the work. Yet, it cannot be absolutely necessary for the sculptor's hand
denied that no matter how large the edition, to be present at all stages, it is certainly
these works are generally purveyed by obvious that the industrial technique limits
businesses with the profit motive actively in his expression. Except for a very simple ob-
mind. Nor can it be denied that the price of ject— two wooden, rocking semicircles clasping
these objects is generally way out of the range a glass circle—by Chris Wilmarth, I found all
of the average citizen. The bourgeois is still of the smaller sculptures inadequate and often
the chief consumer, and enjoys all the nasty vulgar beyond description.
snobbish distinction in his circle for having The most interesting section of the exhibition
acquired these works as he would had he comprised the various approaches to the book.
bought a unique original. Moreover, there are Many of the authors of these 'books' have
in-group productions that require a heavy obviously accepted the propaganda so vigor-
indoctrination in the 'art world' for accept- ously dispensed via the printed word that the
ance, which is always undertaken in the printed word is no longer 'relevant' in the
obvious vested interest outlets such as slick modern society. What makes certain of these
art magazines and even the Sunday pages of editions 'books' is only the old tradition, on
The New York Times. However some of these which many lean, of a text and illustrations.
artists may have conceived their works—and I However, the text is often unintelligible, and
know that Vasarely, for instance, works from merely visual, and the illustrations are often
an elaborate rationale concerning art for the hybrids that long to be mounted on a wall as
masses—the unhappy truth is that they still art objects.
wind up in a fancy exhibition, in a fancy Certainly the most ingenious and genuinely
museum, and are destined for the fancy apart- shocking exhibit is Bernard Meadows' con-
ments of the fancy comfortable professional struction of Beckett's Molloy, published, as are
classes in a fancy part of whatever city, which many of the most exciting contributions, in
is lamentably remote from the other city, the Europe. (This one was done by Editions
underbelly city. Claude Givaudan in Geneva that has under-
This, I think, can be accepted as a fact of taken many interesting book-as-object projects
Western life which is perhaps especially pro- and is meagrely represented in this exhibition.)
nounced in New York City. Certainly many The other impressive displays were all more or
of the artists, particularly the sculptors, have less conventional in format, ranging from
welcomed the inexpensive process now avail- Indiana's illustrations for Creeley's poems to
able for making editions. It has always been Hockney's illustrations for Cavafy's poems.
difficult to distribute sculpture. The impulse As for the 'things', they are mostly produced
to be seen and widely seen is honourable by erstwhile pop artists, or happenings makers,
2
Bernard Meadows Molloy 1968
text by Samuel Beckett, book, polyester reliefs.
etchings, 13¾ x 15¾ x 15¾ in. closed
Edition of 106
Published by Editions Claude Giraudan, Paris
Courtesy Paul Rosenberg & Co, New York
3
Louise Nevelson
Night-Focus-Dawn 1969
black wood, 102 x 117 x 14 in.
Pace Gallery
4 & 5
George Sugarman
Ten 1968-9
painted wood, 7 ft 6 in. x 12 x 17 ft
Fischbach Gallery