Page 64 - Studio International - October 1970

Not even Isn't that what some of them, at least, are mmmmmm!
about: dealing with space ? It seems to me that there still is a glut of flip
crimble I find it terribly sad that sixteen artists, some flop works and painted pieces, certainly in
the ICA.
of International stature, can't do more with
the space which they've all chosen (knowing Why don't they take a few chances, smash up
crumble its limitations or possibilities) to show to- the little scenes they've carefully built up like
gether in. a military operation for themselves over the
How can it be possible to make the ICA last five years and have a go at setting to-
Bruce McLean situation so dull ? Some say talent, maybe. wards making or doing something worth-
British sculpture out of the sixties. while.
What questions are these artists asking them- They all get a little scene going because they
selves? Any? They make things, or do things; were the first to use blockboard for a sculp-
where are the pieces going to be seen? Is it ture; 'flip flops' and that's their lot; it's
important ? doubtful whether they'd even move on to
Do they consider this at all: are the works marine ply.
goings to be seen in an open situation, with
other artists' works, or are they going to be `BRITISH SCULPTURE OUT OF THE SIXTIES'
seen privately, one work one white-painted PART 2
room ? Not considered, I don't think. Prints, drawings and 'photographs'. Another
Are they concerned with the communication breakthrough for the artists.
of 'non ideas' ? If so, where and to whom ? The stuff in the main gallery was one thing,
And why ? but this load of rubbish was another. Eleven
It's unfortunately all a bit private; it's all out of the sixteen artists in the show exhibited
done for the few who understand and know, etchings, screen prints, drawings ? and photo-
whoever they may be. I think mainly rich and prints wow ! in 1970.
fat American ladies straight out of Marx Kim Lim offers us Etchings from a Miscellaneous
Brothers films. It seems, for them, to have Series, edition of ten (sets of six prints in
`BRITISH SCULPTURE OUT OF THE SIXTIES', ICA something to do with status; having conned a `perspex box' available from some gallery).
LONDON AUGUST-SEPTEMBER 1970 few thicks they're immediately conned them- Brian Wall offers us Etching No. 1, Edition
selves. 75, £50 unframed.
`British Sculpture out of the Sixties' offers Some of the artists in the show in the early Clive Barker's coloured Coke gooash on
a non-historical view of British sculpture in sixties were, as far as I'm concerned, doing paper, £200 framed. What's that all about?
the 1960s. It records a personal response, some quite exciting things after Caro's break- This strikes me as being very strange indeed;
centred sometimes in individual works, some- through, but ten years later what are they all your swingers and breakthroughers are
times in modes of sculptural expression,' says doing? Caro is making well-made, near- still fiddling about with etching and screen
Gene Baro the organizer. crimble for Kenneth Noland. They work as if prints; it all looks a bit wet.
British sculpture out of the sixties doesn't they had no problems : get a few bits of this, a David Annesley's six drawings entitled
sound too exciting an idea, and the general little of that and cook up another piece, Summer 1970 look as though they had been
feeling is that it should have remained a girder, space-frame, Untitled No. 1 . . . No done in 1950 by an 'avant-garde' painter
pretty bad idea. problem ? from Glasgow.
I think at this point I should explain what, in In the early sixties, under the direction of Who they are trying to kid with this little lot
fact, crimble crumble is or isn't. Frank (come into my office, Jock) Martin, is anyone's guess.
It isn't Phillip King's Reel piece. the sculpture school at St Martin's was There must be money in it.
What it is, in fact, is an attitude, ease, making one breakthrough after another.
panache, that some people have and some Now, in retrospect, none of these were, in ARTISTS IN REVOLT
people haven't. fact, major breakthroughs. Four of the artists asked to participate in The
The only person in the show getting near to 1. Put-a-sculpture-on-the-floor piece. Show, 'British Sculpture out of the Sixties',
having a touch of the crimble crumbles is This came immediately after take-that- refused: William Tucker, Michael Bolus,
Tony Caro. sculpture - off - that - base - and - don't - ask - Eduardo Paolozzi and Tim Scott. No great
It is a sort of ease, style that some people have, questions piece. loss to the show.
cultivate a bit because they know when There was some discussion about all that: Mr Tucker states that he believes that the best
they've got it, work on it; it has to do with `What do you think, Tony ?"Oh, I'll go sculpture of recent years (with the exception
`craft' tricks, then perpetuating the tricks, along with that, Jeremy.' of David Smith's last pieces) has been made
never quite letting them become completely Paint-a-sculpture piece was another not-to- in this country and deserves better than the
boring. be-quickly-forgotten breakthrough, when present show. Perhaps he feels his work is on
Those who possess this talent have the best everyone was rushing about buying clever a different plane from the stuff on show; an-
chance of becoming the International con shades of paint, secret mixes, painting every other con trick?
men who make up the 'Art scene'. sculpture in sight, calling sculptures magical Michael Bolus seems very uncertain about
I wouldn't object so much to the show if it names like 'Paripan', `Dulux', 'Panfastic', why he didn't want to show. 'There are a
had a bit more crimble crumble in it, but without anyone thinking why they were variety of reasons, mainly a problem of setting
there's hardly one con man out of the sixteen painting up the tatty floor pieces and off- up the work.' He felt he had to give titles tc
artists in the show. the-base works. his pieces. Christ! Or was it the catalogue
Sixteen artists and not one bit of excitement No problem then; all you needed was a 4- which irritated him? Anyway, he wants tc
in the whole of the gallery. Some critics say inch brush and a can of paint: 'Bitter choco- get on with new things. I'll look forward tc
that the space is not too good and that it's late,' brown sculpture ? seeing them.
very difficult for sixteen artists to do anything Then there was a glut of flip flop works : a Tim Scott thinks that the show should have
with the space. piece here, a flop there, walk around it a bit, been selected on some sort of bias.