Page 27 - Studio International - September 1969

Correspondence my opinion, for both big and small countries, that some art critics to withdraw into the thicket of
the relations are so badly arranged also in the field verbal incomprehensibility through the use of
of arts. stilted and possibly pretentious language which
Sincerely obviously contravenes its purpose of communica-
Juhani Rautio tion which it pretends to serve.
Kauniainen I am in full agreement with Mrs Richardson's
Finland letter and Mr R. Hughes's answer is disappointing.
He fails to explain the use of the term `objecthood,'
which apparently eluded even more recent
London Arts dictionaries. I would like to suggest to drop this un-
fortunate term altogether since it can be expressed
In the June, 1969 issue of Studio International you
have stated that every effort has been made to pre- much simpler— as done by Mr Hughes himself.
pare an inclusive directory of galleries dealing in This may be quite so that art cannot be appraised
lithographs and original prints. in terms of a simple assessment procedure. How-
ever, this possibility still does not call for the use of a
My company is listed merely as a Detroit, Michigan
technical terminology which may be even obscure
concern. I would like to point out that there is also
a London Arts Gallery located at 22 New Bond to Mr Hughes's 'specialist public'. While I certainly
admire the high standards of technics used in many
Street, London W1.
modern designs, one should have courage enough to
London Arts is rapidly becoming a major dealer in
admit that they may reflect the artist's lacking
lithographs and original prints of major artists as
meaning. They have no message. No matterhow far-
well as young up-and-coming artists.
fetched the critic's language, it will fail to instill
Among those whose works are readily available
are: Appel, Alechinsky, Chagall, Calder, Miró, meaning to a work which excells in technic but
fails to be a work of art because it has no message to
Picasso, and young English artists such as Michael
convey.
Challenger, Michael Harrison, Ronald King and
I feel that the time has come for the art critic to
Norman Ackroyd to name a few.
review the meaning and the purpose of Art and to
Yours sincerely
critically re-examine any technical terminology
Nicholas Calanni
London Arts Incorporated and the reason for using it.
321 Fisher Building Very truly
Wilhelm Kreyes MD
Detroit
Winnipeg
USA
Manitoba
Unique or multiple ?
John Berger's recently published book The Moment Sao Paulo
of Cubism contains an essay, which appeared in New I understand that the forthcoming São Paulo
Society in 1967, entitled 'Art and property now'. In Bienal is threatened by a boycott of world artists
it, the author describes, with pungent and convinc- as a gesture against the repressive measures of the
ing argument, the vastly inflated status of works of Brazilian regime. A similar boycott of Chicago art
visual art as property, as objects of acquisition—and galleries was carried out last year by Noland, Kelly,
the way in which, in our epoch, this is leading to Gottlieb, Lichtenstein and many others, as a protest
the destruction of art itself. against the despicable actions of Mayor Daley and
The only possible exception to this destructive pro- the Chicago police. In both cases, I respect the
cess, Berger declares, is kinetic art and some Op art integrity and sincerity of the artists concerned, and
and constructivism—that is, art which, by defini- their action demonstrates just how politically and
tion, is no longer a unique object and which exists socially involved many contemporary artists are,
Art in Scandinavia by virtue of what it does, rather than by what it is. despite the extent to which avant-gardism has be-
In the May 1969 issue of Studio International there I think that, without going into further detail, this come 'institutionalised'.
was an article 'The art scene in Scandinavia'. It is represents the general drift of his argument. The Nevertheless, such gestures strike me as misguided.
very nice that there are in Studio International essay concludes on the following portentous note: The leaders of the regime are not people who would
articles about Scandinavian art, but unfortunately `What is certain is that in our European societies as miss exhibitions of contemporary art. Until the
Finnish and Icelandic art had been left out. If the they are now, the unique work of art is doomed: contrary is proven, I assume that Brazilians who do
article had been written about Scandinavian it cannot escape being a ritual object of property, care about contemporary art are not supporters of
design, I am sure that the author would have and its content, if not entirely complacent, cannot the regime and its methods. I doubt if their influ-
written also about Finnish design. Anyway I help but be an oppressive, because hopeless, ence is sufficient to ensure that people are not per-
believe that in Finland and also in Iceland there attempt to deny this role.' secuted and imprisoned. I believe that Brazilians
are artists whose works are valuable and interesting My question is: what is one to make of this prog- who are interested in contemporary art should be
to people, wherever they live, who are interested nostication ? One may well agree with the essay as a allowed the opportunity of seeing it. Moreover,
in art. As an example I should like to mention a whole, but—what is one to do? I take it that Berger is artists should make it clear to them that their work
not advising all serious artists, willy-nilly, hence-
Finnish artist Simo Hannula, who is in my opinion is not designed to create an atmosphere of phoney
one of the best graphic artists in our times. His forth to devote their energies to mass-producible culture that could gloss over the machinations of
pictures have often a surrealistic tone, they are like mobiles, distorting mirrors and coloured lighting repressive forces. A boycott of the Bienal is likely to
windows to unknown landscapes. And his pictures sets? The market would be glutted in no time at all! hurt the wrong people, and may even be in the
Agree one must— and yet, one cannot help recalling
contain deep content, which is rare now and always interests of the regime. Under such tryannies,
the words of the intrepid explorer in the old joke:
and yet in such a fascinating way represented. exhibitions of contemporary art constitute one of
But anyway, the main thing is not that in a presen- `Quicksand or no quicksand, professor, I've half a the few available outlets for free expression and
mind to struggle!'
tation of Scandinavian art Finland and Iceland individualism. To close off such outlets would seem
have been omitted, but the fact that it is nearly a Yours truly to defeat the very ends of the dissenting artists.
rule that in big 'international' art events—maga- Anthony Dorrell Gestures of this kind are simply irrelevant. The
zines and books—only old European art countries Newbury finest examples of contemporary art are in them-
(including USA) and fashionable big names have Berkshire selves a form of protest against all restrictions on
got the biggest publicity. There is no democracy human liberty. They will live on long after the
between nations in politics and the situation seems Verbal incomprehensibility megalomaniac musclemen of political regimes have
to be the same also in arts. What do people abroad been laid to rest.
know, for example, about the present day Portu- Subject: 'Art Jargon', letter to the Editor written by Yours sincerely
guese, Bulgarian, Turkish or Indian art? There is Mrs A. P. Richardson in Studio International, June Roger Sutherland
an Indian proverb that says: 'The greatest geniuses 1969, p. 257. Sunderland
die unknown'. And that is why it is a great loss in Since years I am wondering about the tendency of County Durham