Page 65 - Studio International - November 1970

think it's better than French F 's, and not health' is particularly lucid and informative.
ry
only because it's better written, and has more Z. Barbu suggests a sociological approach to The Art of
feeling for the production of art. It's more art using the concepts of social structure,
important because, just as the seventies will culture and pe�onality; and warns against Revolution
consider Rauschenberg to be a more com­ too facile a use of art as sociological evidence. 96 Posters from Cuba
plete artist than Cezanne, so now is our rela­ H. R. Kedward, while finally denying the By DUGALD STERMER
tionship to American art more crucial than existence of any uniform spirit in twentieth­ Introductory Essay by
ever was our relationship to French art. The century art, provides a valuable analysis of SUSAN SONT�G
aesthetic issues are simply larger, in rvery way. the different philosophies behind its various Exciting,
We-I mean the commentators, not the forms; white E. Lucie-Smith restates the colourful and
brilliantly
artists-have hardly begun to realize these position of the contempora ry artist as still effective col­
issues, let alone consider them. In such a con­ essentially in the Romantic tradition in spite lection of large
text, Forge's book has a truly heroic quality. of the social concerns of Constructivism and Cuban posters.
TIMOTHY HILTON D Dada. Designed to
A more serious defect than its rather hap­ exhort public
Social en a ements hazard nature, it seems to me, is the book's opposition to
g g
oppression,
tendency to recapitulate past discussion
The Social Context of Art edited byJean Greedy. rather than. enlarge upon it. This is the inevit­ capitalism, etc.
and to rouse
217 pp. Tavistock Publications. 42s. able result of a limited and rather old­ enthusiasm for other causes such as
fashioned attitude to culture and its function. the Vietcong and the Biafrans. 138
This book is aimed, accordi�g to the ·Intro­ This attitude is the product of a hierarchical pages, 96 posters, 17¾ x 13¼ in. 2 gns.
duction, at 'the ... group actively engagec;I. in view of society in which culture means fine art Abstract
the study of society', and its purpose is 'to culture-something to be disseminated from Expressionism
comment on the visual arts as they concern above by governments and educational
the social scene. Its purpose is also to cultivate institutions. It is disappointing that this ffiVING SANDLER
understanding and exchange by perceptual attitude still persists: still more disappointing Beautifully illustrated, this historical
and intellectual means, promoting wider to find it more or less unquestioned. It occurs appraisal describes the movement
exchange between social groups. It is hoped implicitly throughout the book, but is expressed which achieved the radical overthrow
thereby to clarify in some measure the func­ most clearly by G. Kepes in his detailed and · t in
gener of
tion and aims of the artist in relation to his gieeful celebration of the technocrat, and by from critics and is
own society and those of future generations.' D. Gabor, who puts forward the surprising addition· to bio-
These are wide, not to say all-embracing, view that 'whatever the avant-garde may do in major artists. 318 pages,
claims, and their vagueness leads one to the future, popular art will have to take the 200 & ii/us.
suspect that anything will be grist to this backward step to Matthew Arnold's "sweet­ 10¼ in. 1 £8
particular mill. ness and light".' Since 'Modern technology Jasper Johns
Perhaps a collection of essays can only be has taken away from the common man the joy Prints 1960-1970
expected to provide certain insights and in the work of his skilful hands; we must give RICHARD S. FIELD
approaches; but the reader who is 'actively it back to·him .... We must revive the artistic All published prints by Johns, created
engaged in_ the study of society' has a right to crafts, to produce such things as hand-cut last shown
something rather more penetrating than in glass, hand-painted china, Brussels lace, here. relation­
fact he gets. There is little for him either in the inlaid fu niture, individual bookbinding.' It attractive
i:
form of authoritative conclusion or of new and may perhaps be reassuring to believe that the prints and well-known Johns paintings
relevant exploration in the individual articles; common man can be kept happy in the 'joy in that
190
while the form of the book as a whole con­ the work of his skilful hands', rather than any 1 11 in.
firms the impression made by the Introduction participation in and control over his economic 1 £5
of looseness and lack of direction. , and social situation, but, when expressed too The French
We are given three articles on the general clearly, the idea can sound rather nightmarish:
theme of art and design in an industrial 'We must get used to the idea that occupa­ Impressionists
society; two critical and descriptive pieces tional therapy will become as vital in the age
about twentieth-century art as a reflection of of leisure as work for production was in the and Their Century
social change; two factual pieces-one about age of economic scarcity.' DIANE KELDER
patronage and the other about art and psycho­ Michael Tree's article on the related theme of An illmninating
therapy; and three further essays on art and design and taste in a mass-production society survey of the
sociology, films and their audience, and art is much more sensitive to the problem. He variety and
education. In t>ther words, about half the sees that 'man as a consumer is vitally linked imaginative
power of
book is concerned with the most obvious in Western society with industrial production. French l 9th­
problems-and none the less important for He has a right to be heard: he has a need century artists,
that-to emerge from its title-subject, and half to be understood.' But he reaches in his gloomy relating their
with more peripheral, associated subjects. Its conclusion, quoted from Sir Gordon Russell, experimental
final effect is rather like a sten-gun aimed at a a summing-up which might have served better techniques to
very large target: all the bullets hit, but sorrie as a starting-point: 'unless they are men able the intellectual
history of the
vital areas are saturated with fire while others to appreciate the broader implications of their period. 190 pages, 80 plates, 40 in
escape scot-free. work and the work of others, changes will be colour, 40 drawings, 11 i X 8½ in.
Obviously in any collection of essays with made on a haphazard basis and the environ­ £2 10s.
many distinguished contributors, there is ment will be one of the worst sufferers from
much useful information and many valuable any piecemeal development. Equally, unless PALL MALL
insights. Edward Adamson's 'Art for mental there are deep enough roots of appreciation
209