Page 29 - Studio International - March 1969

News Adverteyes watch films and even have the odd bit of theatre.
Why can't something be done about that marvel-
It came as no surprise to learn that the TV com- lous institution the National Film Theatre which
and comment mercial time bought by the Madden galleries to is at the moment in dire need of funds? Why can't
advertise their Pierre Prim exhibition brought a
it become part of a Modern Art Museum, so that
record number of visitors. It even had an effect on it's archive and presentations take place in the
London taxi drivers. All you needed to do was to same building and so that film is finally seen in the
get into a cab anywhere and say 'that show as context of art where it belongs? All this would
advertised on the TV' and you were whisked there demand a new building and people with imagina-
without further ado. What distinguished the tion and initiative to staff it. The people already
Madden's commercial was the fact that it was (as exist; the collection itself is there. Even if it took a
far as I know) the first ever bought by an art popular campaign ten years to get the ball rolling
gallery. It wasn't particularly imaginative in fact. it would be worth it in the end.
Just a man in a dark suit and horn-rims saying, in
that hushed voice that all the world knows is the
mark of a real-life art critic, that the picture he was
standing next to was a portrait of Manet. There is
clearly room for improvement, and no doubt
improvement there will be when the other gal-
leries, impressed by the Madden's success, call in
some real advertising agency to do the job.
Graphics in Ireland Imagine what persuasive methods could be used
on behalf of a show of nineteenth-century Salon
Elizabeth Deighton writes: paintings, for example: 'SEE the Rape of the
A wide selection of graphics from Diirer to Hock- Sabine Women! Thrill to the sensual delights of
ney, taking in en route Rembrandt, Goya, Renoir, the Turkish Baths! Shudder at the Head of John
Matisse, Picasso, and Paolozzi to mention only a the Baptist under Salome's arm!' Or the Magritte
selection, was shown in February this year at the exhibition come to that: 'Visit the moustached
Ritchie Hendriks Gallery in Dublin. Most have lady—or is it really a moustache?'
been seen before—they represent what must be the
cream of the stock of Editions Alecto and London
Graphic Arts. And, surprisingly, the exhibition Tate extension
worked. The young lions of Alecto stood up well to
the old masters of London Graphics. Nearly all So much has been written about the proposed
were of a high quality but the Vasarelys and, plans for the Tate that I hesitate to do any stirring
rather unexpectedly, the William Scotts looked myself. But the proposals are of enormous impor-
particularly good in mixed company. What was tance and will affect museum policy in London for
new and refreshing was the excellent presentation years to come. Of course the Tate needs more
in this gallery. The setting is a natural: high space and of course the alteration scheme will
Georgian rooms where pictures can breathe, and, provide it. Of course the proposed facade will add
in addition, David Hendriks frames with skill, yet another blank and,uninteresting front to Mill-
hangs with imagination and runs his gallery with a bank which, Vickers Tower apart, is one of the
nice blend of sophistication and enthusiasm. His is dullest sights London has to offer. The south side
a success story. After ten years of hard work, this of the river already looks like the worst part of the 75 years ago
Trinity College Dublin educated Jamaican made sea-front at Ostend and the approach to the Tate
the break-through four years ago. Most of the time on the other side, from either side, is singularly It is only within the last twenty-five years that
he concentrates on Irish artists, mainly unknown uninspiring. The officials can quote Pevsner and Taxidermy has been treated as an art. Up to that
outside Dublin, but, from all accounts, of a high other authorities until they're blue in the face. time there were a certain number of 'stuffers' in
metropolitan standard. Undistinguished or not, the present Tate facade is the world, who thought that their work was ended
He is helped, as is the other contemporary gallery brilliant compared with what surrounds it and, as when the object was skinned, prepared, and
in Dublin—the Dawson Gallery—by an unusu- every architectural authority is fond of stating, it's 'stuffed'. The mounting, or 'dressing' as it was
ally healthy visual art situation in the city—a often the value of a building as contrast that's termed, was left to the caprice of the stuffer, and
situation which acclimatizes again and again the more important than its intrinsic merits as a fine most of us can remember those cases of mounted
Dubliners to contemporary art. Trinity College, in building. The trouble is, of course, that everyone specimens in which some gorgeously coloured
its small but beautifully planned exhibition room, is having to compromise yet again, and no-one is tropical birds were surrounded by our own more
holds changing exhibitions of a high standard— unaware of the difficulties involved. But couldn't soberly coloured ones, the chief object sought to be
kinetic—banners—and in February graphics by those concerned demand an entirely new museum, attained appearing to be the crowding in the case
Moore, Braque and Rouault. 'Rosc' brought to the 'Museum of Modern Art', and wait and argue of as many different species as possible.
Dublin the very peak of international artists in a until they get it. It has always seemed impossible From 'Taxidermy as an Art' by Fred Miller.
widely publicized and attended exhibition—and that the Tate should house the British collection
it is planned to hold 'Rosc' every four years. And the and the modern collection and make some sense
Irish Arts Council is prepared, when it has funds but of both of them. The new hanging policy, 50 years ago
out of a minute total budget of £60,000 p.a., to pay where even more work of value gets left in the
half the price of public purchases—business or cellars than ever, is further proof of this. A museum To the student of art such an exhibition is full of
otherwise—of Irish works of art, providing the Arts should in any case put the bad with the good on significance, because it proves that the standard of
Council members approve of the picture. There is show, to give students and visitors in general a artistic practice throughout the country is being
a strong amateur involvement in all this, only broad idea of what was produced at any one time, thoroughly maintained, and that our artists in-
possible perhaps in a city of under half a million and not give them the false impression that art is stead of being depressed by present-day conditions
where professional art administrators are few. But invariably a question of masterpieces. There's also of existence have been stiffened in their resolve to
the real importance lies in the fact that the public the Moore gift to be taken into account. This will do their best. Since the war began British art has
is increasingly exposed, in a natural, out-of- demand enormous space if justice is to be done to it. appreciably gained in stability and in steadfastness
gallery way, to chosen modern works with which Quite apart from the fact that contemporary of purpose, and this gain is even more evident now
they become familiar. The new and unexpected is painting is getting bigger and bigger in scale and than it was last year. This is, indeed, a hopeful
seen and commented upon by more than a small will have to be put somewhere. What the building sign of the times, for, as the spirit of a people is
minority, and government and public patronage of a new Museum of Modern Art could do is create reflected in the art which it produces, the streng-
seeps down to the small private buyer on a sur- the conditions for this country for a new and excit- thening of the artistic sentiment implies a develop-
prising scale. Most exhibitions sell well, and I was ing relationship between museum and visitor. It's ment in the character of the nation, and a
told few leading Irish artists have to teach through about time, for example, that we had somewhere hardening in the popular resolve to fight things
financial pressure. There may be lessons here with where, in the evenings, and against the back- out to the end.
a wide relevance. ground of a modern collection, we can hear music, From 'The Royal Academy Exhibition, 1918'.