Page 25 - Studio International - July August 1970

specific enquiries to the correct organizations or obviously cut across the personality of the man and News and notes
individuals. has chosen to misuse quotes from his book of
The reasoning which has called A.I.R. into being `Entretiens' to abuse an artist, whose best work
is: needs no defense from anyone, least of all an ad-
1. Thousands of artists are trained each year. mirer of over fifteen years like myself.
Their prospects on leaving college are bleak. A few But for the sake of the record, I would ask you to
find teaching posts; of this group, some become so print Vasarely's own words from the opening of his
fully occupied with teaching that their artistic book: 'First of all allow me to tell you that an
energy is exhausted. A few may act as assistants to artist's formulations are never final. We modify
more fortunate artists, or act as museum or gallery them ceaselessly, for the simple reason that we are
attendants. Most find jobs as designers, illustrators, neither philosophers nor scientists who are obliged
or wholly outside the arts, and are lost to the arts. to limit themselves to certain exact facts, at least
2. The chance of being attached to a gallery is for a time. In the case of a genuine explorer in the
remote—few galleries handle the work of creative plastic arts, the discursive statements don't come
artists and those that do tend to operate as 'closed until after the act, that's to say after completing Eva Hesse: an obituary note
shops'. the work of art. On the other hand, the concern of Barry Flanagan writes:
3. The small number of spirited dealers who all new work constitutes a self-critical act sus- Eva Hesse died in New York on Friday, May 29.
support young promising artists cannot do so for ceptible to profound changing of the former state- It was my fortune to meet her and see some early
long without his/her reputation rising; the measure ments. It isn't a question of laws nor even pieces last year, also new pieces more recently. Her
of this is increased sales and the strengthening of postulations, but of ideas that we believe to be maturity and courage are reflected completely in
the proposition of 'art as commodity value'. right at the moment of birth of a work or series of the strength of her work; the loss of such an artist is
4. Artistic endeavour has moved beyond the works forming a period. These ideas are nothing acute. The statement of Eva's tells far more than
salon; the artistic revolution—large-scale paintings, but rough notes scattered on paper. Much later one could say:
earthworks, light projections, etc.—demand a re- certain ones affirm themselves; it is only then, that
assessment of the situation. we think of communicating them'. Statement, October 15, 1969, out of hospital,
5. The present platforms for the creative arts— Never have I heard Vasarely make false claims for short stay this time,
galleries, museums, theatres—inherited as they are his discoveries, and I have always found him a third time.
from the elitist society of the eighteenth and nine- champion of other artists in his own field— Same day, students and Douglas Johns began work.
teenth centuries, are totally inadequate for the especially of our own younger artist—Bridget Riley. MORATORIUM DAY
presentation of the scope and talents of the creative Yours sincerely Piece is in many parts.
arts today. Vera Lindsay Each in itself is a complete statement,
6. Artistic appreciation in this country is still too London NW8 together am not certain how it will be.
bound by an approach conditioned by history, A fact. I cannot be certain yet.
antiques and Old Masters, to the detriment of Can be from illness, can be from honesty.
living arts. A case for decomposition irregular, edges, six to seven feet long.
7. Critics have been party to this attitude, and textures coarse, rough, changing.
are more ready to interpret in the light of art Enclosed is a photograph of the major work in see through, non see through, consistent, in-
history than to discover what motivates artists of Diter Rot's exhibition here at my gallery. consistent.
their own generation. The work has been here since April 28th, and is in enclosed tightly by glass like encasement just
8. The patron or prospective patron is therefore a fine state of decomposition. There are maggots hanging there.
encouraged to spend in the antique sale rooms of on the floor, flies all over the place (stoned on then more, others. will they hang there in the same
Bond Street, rather than to support the work of
cheese), and the stench is really here. way?
living artists, about whom he is offered little The Health Department tried to close the exhibi- try a continuous flowing one.
information. tion, but we beat the rap. try some random closely spaced.
9. The general public finds artistic work incom- It is a fine, total statement at any time, but try some distant far spaced.
prehensible or irresponsible, and this image of particularly at this time, with all the theatre in the they are tight and formal but very ethereal,
eccentricity is perpetuated by those who present streets in this country. sensitive, fragile.
the arts to the public. I hope you can run it. see through mostly.
10. Communications between the various sec- Eugenia Butler not painting, not sculpture. it's there though.
tions of the art world are grossly inadequate, and Los Angeles, USA I remember I wanted to get to non art, non
reflect an unfortunate lack of organization. connotive, non anthropomorphic, non geometric,
For these reasons A.I.R. asks support from the non, nothing, everything, but of another kind,
following: vision, sort.
Patrons and sponsors Diter Rot Staple Cheese, a Race 1970 from a total other reference point. is it possible?
Dealers 37 suitcases, all stuffed with cheese I have learned anything is possible. I know that.
Gallery Directors All cases signed and dated that vision or concept will come through total risk,
Commerce, industry and related organizations (to freedom, discipline.
assist with practical problems related to materials I will do it.
and techniques) today, another step, on two sheets we put on the
Artists (to participate with material and informa- glass.
tion for the Registry). did the two differently.
Documentation and information will be retained one was cast—poured over hard, irregular, thick
by A.I.R. If, however, the information on an indi- plastic;
vidual artist's work should in the long term become one with screening, crumpled. they will all be
of such a nature that it would be impractical to different.
keep and house it with A.I.R., it would then be both the rubber sheets and the fiberglass.
possible, with the artist's consent, to transfer it lengths and widths.
elsewhere (e.g. the Tate Gallery Archive). question how and why in putting it together?
For further information, contact: can it be different each time? why not?
Peter Sedgley how to achieve by not achieving? how to make by
Art Information Registry not making?
St Katharine Dock it's all in that.
St Katharine Way it's not the new. it is what is yet now known,
London EC1 thought, seen, touched but really what is not.
and that is.
Vasarely's claims EVA HESSE 1969
(Eva Hesse was born in Hamburg in 1936. She
Your May issue carries a vicious attack on Victor worked in New York, and taught at the School of
Vasarely and it pains me to find your magazine Visual Art. Her statement is reproduced
entering French Art Politics. The author has courtesy Fishbach Gallery, New York.)