Page 33 - Studio International - September 1969

mysticism and contumacy with which it is record straight, and draw attention to th( Martin, and Van Woerkom. Mary Martin, John Ernest
difficult to connect. There is an underlying achievements of one of the more neglected, and Anthony Hill visited this exhibition and for the
first time saw actual examples of Biederman's work.
presence in his writing of tenseness, perturba- most remarkable, and sustainedly radical
Prior to this exhibition, the first intimation of what
tion, and frustration, which can colour and artists of our time. q Biederman's coloured reliefs were really like was pro-
distort the inner meaning of his argument, vided by colour illustrations in the magazine The
and leave his readers alientated. In his work, 1 At the Marlborough New London Gallery, in an Structurist, (Saskatoon), no. 1, 1960-61, and no. 2,
exhibition entitled 'Reliefs, Sculpture'
however, I find no such features present. His 1961-62, which were seen here.
2 'Cinq Peintres Americains; Biederman, Ferren, Gal!atin, 9 In the Marlborough New London exhibition.
reliefs contain an extraordinary degree of Morris, Shaw.' 10 From Ceri Richards.
rigour, discipline and control. A sense of 3 'Art in Crisis', by Charles Biederman. Studies in the
11 Studio International, April 1966, 'Construction: The
order, a command of means, and uncluttered Twentieth Century, Troy 1, N.Y. 1968. European phenomenon', by Anthony Hill.
Ibid.
rity of purpose. A Structurist relief by 12 'For the first time in history the full effect of colour is
5 From his introduction to the catalogue of `Reliel/Con-
Biederman achieves a precisely poised unity open to the artist. Colour is no longer colour, as in
struction/Relief.' Organised by the Museum of Con- painting, nor severely limited, as in sculpture, colour in
between idea and means, whose conjunction temporary Art, Chicago, 1968.
art has become light! Colour, as in nature's light, is now
transcends both, freeing the work from any 6 For example: John Ernest, Adrian Heath, Anthony
the colour of art.' The New Ozanne, Charles Bieder-
idiomatic constraints. Whilst a Structurist Hill, Kenneth Martin, Mary Martin, Victor Pasmore, man, Red Wing, 1958.
Peter Stroud, Gillian Wise, and others.
relief depends for its inception on the whole
7 The catalogue for `Dimensions: British Abstract Art, BIEDERMAN BIBLIOGRAPHY
ethos of Structurism, it is released in its final
1948-1957', (organised by Lawrence Alloway at the Art as the Evolution of Visual Knowledge ($10 plus 78c
form from any theoretical determination, O'Hana Gallery, London in 1957), contains no less than postage), and The New Ozanne, available from C. B.,
leaving the firm conviction of a new and auto- six references to Biederman, including the following: Red Wing, Minnesota.
nomous reality. There is no doubt in my mind `1952. Hill corresponds with Biederman.' Various articles reprinted from Structure, and Form 3
that Charles Biederman has made a unique `1953. Pasmore corresponds with Biederman.' and 4, 3s 6d per copy, available from Philip Steadman,
`1954. K. Martin corresponds with Biederman.' 85 Norwich St., Cambridge.
contribution to modern art. Until now, atten-
8 At the Stedelijk Museum, Amsterdam, in 'Experiment An Art Credo, Is (incl. postage) (published as a number
tion has been directed mainly to his writings. in Constructie', where Biederman exhibited ten reliefs, of Poor. Old. Tired. Horse.), from Ian Hamilton Finlay,
I am glad to have this opportunity to put the along with Baljeu, Cairoli, Ernest, Gorin, Hill, Mary Stonypath, Dunsyre, Lanark.