Page 14 - Studio International - February 1971

asserting that, after all, comics are FUN. The American who, 15 years ago, was one of a tiny majority in
The light-hearted approach, of course, cuts the London art world in providing American
the ground away from any serious critical juggernaut painting with an intelligent and sympathetic
consideration of comics as popular art by critical reception. I can speak with some
making such criticism seem ludicrously Hilton Kramer authority in this matter because it was I, as
academic and ponderous. It also avoids any of editor of an American art journal, who
the problems raised. by popular art as such: its commissioned and published Mr Heron's
relationship with fine art, its function within writings on this subject. Mr Heron was then one
society, the sort of things a popular form can of the very few critics in London from whom on
and cannot do, its specific qualities and could expect an informed, disinterested,
limitations. It is only for what they are that aesthetic analysis of painting, American or
comics are important, and in this context a more otherwise. I considered him then the best art
serious approach might well have paid critic to have merged in London since Roger
dividends. Apart from the small section on Fry, and I think his writings of the period (the
narrative techniques the show does nothing to nineteen-fifties) still make his claim to that
actually explore comic forms and content. There position unassailable.
has been minimal research into areas like real When I visited London in 1957, I had the
circulation figures, syndication, or printing distinct impression that Mr Heron was
techniques. There is nothing on literacy, age considered by many right-thinking people on
groups and reading habits, and no attempt to the London art scene as having gone 'a bit
link changes in the comics with social change. dotty' on the subject of American art, for it
Apart from a gesture or two there is nothing was not yet the fashion to take American art
about people's use of and relationship with completely seriously. But all that has changed
comics, and nothing to follow up Orwell's utterly. Nowadays, of course, he is considered
phrase, quoted in the catalogue, that 'Probably strange for questioning American dominance.
the contents of these shops is the best available Mr Heron does not write now with the kind
indication of what the mass of the English' (and of aesthetic disinterestedness he brought to
in this context the European and American) criticism in the fifties. His current attack is
`people really feels and thinks.' Perhaps it is too explicitly political. Yet he is certainly correct in
much to expect analysis of what this quotation some of the charges he is now making, however
means, of how popular myths can indirectly or much he may be inclined to overstate them.
directly affect the way people feel and think, or When he speaks of the 'world-wide
how they can locate and give expression to real dissemination of scandalously chauvinistic,
tensions in society--as they undoubtedly can. It inaccurate and insanely inflated opinion as to the
might even be said that it is not the business of quality, value or stature of every kind of
an Art Gallery to perform this kind of American art,' we all know very well what he is
sociological analysis; but without some sort of talking about. And the way some of the younger
critical basis, some sort of attitude to the British writers on art have fallen into the habit
material, the exhibition might just as well An American critic's comment on Patrick Heron's of abasing themselves before the most dubious
consist of a poster recommending our nearest article, ' Two Cultures'. and trumped-up American reputations has
Popular Book Store. passed in recent years from the realm of social
It is true that we are given an opportunity to Under the slightly misleading title of 'Two comedy into the sphere of cultural pathology.
see the development of British and American Cultures,' the well-known English painter and For British artists working at any distance
comics and offered a glance at European, critic Patrick Heron has just published—in the from American influences or American
`underground' and 'art' comics and some of December number of the London art magazine attachments, the practical consequences of this
their uses as propaganda; and some of this Studio International—a virtual declaration of war uncritical worship of American art have lately
may be of interest even to those who have on American art and on American domination become acute Mr Heron speaks of the
read the Penguin Book of Comics. Then of the British art scene. The 'Two Cultures,' in `increasing American occupation of all the more
there are the Works by Children, the related this case, are the New York and London art prestigious exhibition spaces in London.' Thus,
works by artists, and the slide and tape show establishments, and it is Mr Heron's contention `the height of the summer season of 1969 saw the
which, with peculiar insensitivity to the medium, that the latter has thoroughly sold out ot the Tate the Hayward and the Whitechapel given
presents the lettered text aurally; but much of blandishments of the former. Going further, he over to American or American-dominated
the space devoted to these delights might have suggests that certain highly vaunted exhibitions.' And Mr Heron continues : 'But
been better used to give greater coverage to the accomplishments of recent American art this last summer was even worse. Look up the
most important works —Li'l Abner's social actually owe their origin to British artists. He is score for yourself—unless you can't
references have been thoroughly explored ferociously critical of some of the younger remember, because it already seemed so natural
elsewhere, for example (and could we have him reputations in American art—Frank Stella and to you that American painting or sculpture
speaking English next time ?) —and to provide Donald Judd are especially singled out for should hog the London limelight in May, June,
comparative material from within comics demolition—and he is openly bitter about the July, August each year. And young British
themselves and from books, films and cartoon way British critics, particularly the younger critics now preface their reviews of
films. critics, have joined the American band wagon, retrospectives by American artists who are
Judging by the catalogue, the response to all denigrating British accomplishments in the themselves still in their early ios and 4os by
these criticisms would be that this is only a process. He dismisses much of the American art suggesting that they have been a long time
comics exhibition—it's junk for God's sake, you that commands such steadfast allegiance among arriving in London!'
aren't meant to take it seriously. It is precisely his compatriots as a 'new American-promoted `One reason why these critics' vocabularies
this contempt for the material exhibited that I international academicism.' are so dominated by American examples is that
am complaining about. q This attack comes from an artist and critic London just doesn't get around to showing
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