Page 26 - Studio International - April 1970

Correspondence never use the word truth in a context like that, and News and notes
don't understand what Mr Mackintosh under-
stands by it in relation to what he understands by
`conceptual' art. The two (I presume) relevant
Victorian painters sentences of mine were, 'The major problem is
never how to do something; it's always what to do',
I unaccountably failed to notice Timothy Hilton's
provocative review in last November's issue. Need and 'Those who are concerned principally with
Mr Hilton be so sniffily blasé about the revival of how to do it have got presentation confused with
interest in Victorian painting in the museums? art'. I don't like using italics, but maybe if I'd
`One is very aware', he wrote a propos Jeremy italicized 'major' and 'principally' Mr Mackintosh The 5th International Triennial of Coloured
Maas's Victorian Painters, 'that municipal galleries wouldn't have felt it necessary to point out to me Graphic Prints will take place from July 18 tc
are rummaging through their basements to bring the inseparability of presentation and art. To give August 10, 1970. All artists, publishers and
him his due, he's not the first person to have done distri-butors of graphic prints from all over the world are
out and hang some suddenly fashionable canvas—
so, but the other two seemed to have made up their invited to join in this open competition. Entry
a Frampton perhaps or a Shayer.' Actually, what
minds about what I had written before they read blanks may be obtained from the Grenchen Art
has been happening in the last few years is the
it. Society, Gallery Toni Brechbühl, 2540 Grenchen
overdue critical re-appraisal that Mr Hilton says
4. Critics rarely take initiatives, and if they do Switzerland.
he wants.
In the Queens Park Art Gallery in Manchester, for they're rarely relevant to art. The idea that
strategy and purpose, while interdependent, need The Neue Galerie of the City of Aachen was
example, displays have recently been completed
not be considered as interchangeable, is carried by opened at the end of February, consisting of 11
which stress the different categories of Victorian
subject matter—mythological and historical, for some (not much) recent art that I really admire— exhibition-rooms of about 1400 square metres,
and there's nothing I can do about that except try Artists, writers and musicians have been invited tc
instance, being set against realist and landscape
subjects. In addition these have been set in a to understand why. I also feel very strongly that work in the presence of the public and to explain
critical context by a room devoted to the New the examples of 'no-object' type work which Mr what they do, and the gallery will remain open till
English Art Club's conscious reaction to this kind Mackintosh (and I) could most justifiably stigma- 11 pm on Thursdays, Fridays and Saturdays. In
of painting in the 1880s. tize as romantic and picturesque are those in these and other ways it is hoped to encourage the
Yours faithfully which the artists concerned have failed to make idea of the gallery as a meeting place rather than a
Mark Haworth-Booth good the relationship between strategy and pur- gallery in the traditional sense.
Assistant Keeper, Rutherston Collection pose (or presentation and idea, or how to do it
City of Manchester Art Galleries and what to do) at the very point when the nature of The Centre of Art and Communication ha:
their work calls that relationship in question. already established the basis for the creation of a
Characteristic of what I would see as not-art is an `Graphic Experimentation Laboratory' which will
`Notes towards Art Work' indeterminacy in dealing with this relationship, an operate simultaneously in Tel Aviv and Buenos
I'd like to reply to Alistair Mackintosh's letter in inability to understand it, or a lack of openness in Aires. In both countries, the recipients of scholar.
the March issue apropos my 'Notes towards Art revealing it. I said as much in different words: 'The ships will have to be natives or permanent residents;
Work', and to take the opportunity offered to more explicit the distinction between strategy and they will work with professors and theoreticians of
clarify what I wrote. purpose, the heavier the demand for a strategy an international level who will be invited to work in
1. Mr Mackintosh's quotation from Judd is best which will stand up to scrutiny'. If Mr Mackintosh both countries organizing seminars and study
seen in context. I don't believe I'm motivated by has a look through the catalogue of the recent groups.
any of the factors Judd gave as implicitly suspect Leverkusen 'Conception' exhibition I'm sure he'll
`arguments for closure'. He continued, 'Most see what I mean. Sir Herbert Read: As a tribute to Sir Herbert
discussion of these aspects is absolute; something is 5. Details: (a) Mr Mackintosh is quite right to be Read, who was a Trustee of the Tate Gallery from
the only true art and something else has got to go.' `suspicious of anyone telling him what an artist's 1965 until his death in June 1968, four of the fore-
I certainly don't believe that anything (any thing) real endeavour is'. In writing that Lichtenstein's most artists associated with him, Naum Gabo,
is the true art—and I certainly don't believe that `real endeavour is corrective and critical' I had Henry Moore, Barbara Hepworth and Ben
`Conceptual Art' (a phrase I've personally never intended to draw attention to what it was not: i.e. Nicholson, have presented works to the Tate in his
used in writing) is 'the true art'. 'Art is not every- it's not pop qua popularist. I think I could have memory. The four works are currently on view in
thing that is not art' (Reinhardt). I just find that I been clearer, but I also think that all art is correc- Gallery 20.
think increasingly in terms of work that is art and tive and critical. If Mr Mackintosh understands
work that isn't, rather than in terms of good, that, I'm not telling him anything he doesn't The 1969/70 Edition of On View, a guide tc
middling and bad art. Mr Mackintosh can use his already know—in which case he need hardly feel Museum and Gallery acquisitions in Britain, is
own methods of discrimination. I'm not setting suspicious of me. (b) The sentence of mine which now on sale. This edition covers the period July
rules for him or anyone else and if he wants to open Mr Mackintosh quotes as sounding 'like Green- 1968 to July 1969. Extensively illustrated. Price:
doors he needn't find me in the way. He needn't berg doing his door-shutting act in another context' 10s 6d and $2.
see me at all. was indeed intended to paraphrase/criticize a
As I was going up the stairs particular formalist attitude. I think Greenberg is Mr L. A. Arkus, Director of the Museum of
I met a man who wasn't there. still the best critic we've got (as critics go), however Art, Carnegie Institute, Pittsburgh, USA, has
He wasn't there again today. much I may disagree with his priorities in terms of recently been in Europe selecting work for inclusion
Oh how I wish he'd go away ! recent art activities and dilemmas. Indeed, the in the forthcoming 1970 Pittsburgh International
If Mr Mackintosh will stop looking at critics like very measure of one's disagreement can be valu- Exhibition of Contemporary Art, the oldest and
me we'll disappear. Just watch. It's my boats I able, and it's to Greenberg's credit that he pro- most important single art event in the United
want burned, not his. vides one with something consistent to measure States, which takes place triennially. Altogether
2. 'Conceptual' (Mr Mackintosh's quotes) work is against. But that's beside the point. It's the other 100 artists will be represented, in most cases by more
no more likely to be art (in my terms) than any context that matters and I'm glad that Mr than one work. Included for the first time will be
other `type'—`Pop', 'Minimal', 'Cubist', anything Mackintosh noticed there was one. a special group of some twelve artists who may be
else. But there's certainly a lot of conceptual not- Charles Harrison regarded as masters of our time. All are over seventy
art being publicized just now. I agree with Mr London, N1 and include Picasso, Miró, Tobey and Henry
Mackintosh that 'most "conceptual" art is in fact Moore.
romantic' and that indeed my 'own word "Pic-
turesque" might be even better'. Did he think he Barnett Newman issue: The new Art Book Department at Heal's is
was picking a quarrel with me? and why? I've Re 'Correspondence', March issue: It is unfortu- doing a special promotion of Japanese books in the
never considered that commitment to a certain nate that Barbara Reise did not have a chance to English language, some of which have not been
original body of work should involve mindless check page proofs of the February issue, since she distributed in Britain before. The department
acceptance of late-comers and also-rans. was responsible for the general planning of the will continue the promotion, which opened to
3. Picturesque art of any type throws up 'barriers material on Barnett Newman. It would have been coincide with the opening of Expo 70 at Osaka, into
against evaluation' at some level, though they're more appropriate to thank her rather than Mr the first two weeks of April. The department how-
not really very hard to surmount if one feels it's Newman for help in the production of the issue, al- ever is well worth a visit any time for its impressive
worth the effort—which it usually isn't. I certainly though we remain grateful to Mr Newman for his stock of books, prints and postcards. Miss Lawrence,
didn't say that 'presentation' was unimportant co-operation in providing information and his per- whose achievement this is, has laid particular
compared to the 'truth' of the content. I would mission to publish material in his possession.—Ed. emphasis on the work of Klimt and Schiele.