Page 15 - Studio International - February 1971

British art on anything like the same scale,' Correspondence the money gained from charges would go to the
Mr Heron writes. 'As far as I know, London has institutions concerned. It has been repeatedly
never seen retrospective exhibitions by : Robert stated by the Government that this is not the
Adams, Kenneth Armitage, Trevor Bell, Peter In opposition to museum & gallery charges case. In fact, the proposal is nothing less than an
Blake, Reg Butler, Patrick Caulfield, Lynn The excellent editorial in January's number on announcement of the imposition of a tax on
the Government's intention to introduce charges artistic enjoyment. Artists will not benefit from
Chadwick, Bernard Cohen, Robyn Denny,
for admission to national museums and galleries the charges, if imposed; if anything, they will
Elizabeth Frink, Terry Frost, Patrick Heron, lose through decreased attendances.
is most welcome in that it draws attention to an
Anthony Hill, Roger Hilton, Paul Huxley, Allen Future plans of the Campaign depend on
issue which has been overshadowed by other
Jones, Justin Knowles, Kenneth Martin, F. E. contingencies such as the nature of the
matters. Most of the arguments against this
McWilliams, Eduardo Paolozzi, Bridget Riley, proposal are set out in the editorial but, before I implementation of the proposal. One thing which
Wiliam Scott, Joe Tilson, William Turnbull, give a brief account of what has been done in might be effective—a threat by artists to withdraw
Michael Tyzack, John Wells, Brian Wall or opposition, a few words on principles. their support from all Government-sponsored
Bryan Winter.' Mr Heron then asks : 'How on National museums and galleries have been organizations concerned with the Arts, and by the
earth can the younger British artists and critics free for so many years that any alteration of this owners of works to withdraw them from the
be expected to know what's been done in this policy represents a fundamental volte-face. The national museums and galleries. We would
country in the last 20 years in the absence of principle that privilege and income should be welcome support and suggestions as to future
dissociated with regard to cultural and action from readers.
retrospectives by artists such as these ?'
educational facilities, though not by any means Andrew Wright
Mr Heron then chooses two of these artists — Campaign Against Museum Admission Charges
universally applied in this country, has had
the painter Trevor Bell and the sculptor Justin 221 Camden High Street, London NWI
application to national museums and galleries;
Knowles—for a detailed critical commentary. As
to change this would be to postpone even further
I have not seen the work he discusses, I cannot the day when lack of financial means will not An artist's survival in this society is precarious
comment on this aspect of Mr Heron's essay. entail cultural deprivation. The prospects are enough already; the proposed museum charges
But in the course of this discussion Mr Heron alarming: if this proposal is implemented, it is will be a further serious interference in the
makes several points of general interest. One is a very likely that the University Grants Committee creative life of many for whom the art galleries
passionate aesthetic defence of the 'hand- will feel impelled to apply charges to University are part of their work-situation. For this reason
painted' surface as against the use of `sprayguns museums and galleries; worse, local authorities alone artists should give all the support they can
and rollers and other methods of applying paint.' may well follow the Government's lead with to the Campaign Against Museum Admission
respect both to municipal museums and galleries, Charges.
His peroration on the merits of 'brush work'
and to public libraries. Beyond the personal involvement there is the
will no doubt sound antediluvian to many larger question of the widening gap between the
(younger) ears, but it nonetheless recalls to us For these reasons, and many more, the
Campaign Against Museum Admission Charges, artist and his potential public. Coming at a time
one of the essential constitutents and one of the when many artists are trying to achieve a direct
the idea for which came from the artist Pamela
central issues of painting as an art. He discusses, Zoline, began to organize opposition late in confrontation with the rest of the community
too, some of the aesthetic problems of the so- November. Strategy dictated two courses of through more public art-forms, these proposed
called 'shaped canvas' and of what he calls low- action. On the one hand, we secured the support charges are a step in the opposite direction;
flung 'floor sculpture' in relation to the actual of many eminent artists, scientists, academics, they will increase the monetary barriers to
physical spaces they occupy. Mr Heron etc, in order to gain influential help and to attract communication. Once again art is being obscured
remains in possession of a marvellously acute publicity. A public meeting was held on by its potential as revenue. This regressive step
visual sensibility, and the nonpolitical passages 14 December, speakers including Jennie Lee, should be opposed by any effective means.
in this essay remind us once again of what an Roy Strong, Sir Dennis Proctor, Lady Longford Peter Joseph
and Maurice Wilkins (over moo people attended). Tim Dreyer
excellent critic he can be when his attention is
As a result, the Campaign became generally London NW5
fully engaged by a work he admires.
known and offers of support and help flooded in to
But the 'Two Cultures' essay is, alas, a HQ at 221 Camden High Street, NWI. Various Closure of Howard Wise
political act—an attempt to bring down the organizations, notably the NUS and the NUT, It is with mixed emotions that I inform you that
American juggernaut. 'What British artists are made offers of active help. On the other hand, the the show, 'Three Sounds' by Howard Jones,
up against at this moment,' he writes, 'is not the mobilization of public opinion was begun, chiefly which closed December 19, was the last exhibition
competition of a school of American artists of by means of the launching of the petition. This is at my Gallery.
overwhelming brilliance; but a gang of important for at least three reasons —it will help It may seem paradoxical to you that at the
American art promoters whose Madison to convince the Government of the widespread height of the Gallery's success I am withdrawing
Avenue techniques of publicity, whose ruthless opposition to their proposal; it encourages from the exhibition scene.
signatories to involve in the Campaign the The most important considerations which have
cultural chauvinism and whose positively Wall
organizations with which they are connected; impelled me to make this decision are that many
Street financial resources combine to form a
and, perhaps most important, it may help in artists, among them some of the most
gigantic steamroller.' There is, as I say, enough
furthering the idea of people controlling their adventuresome, are focussing their energies on
truth to this observation ot make Mr Heron's works of such scope that these can only be hinted
own cultural and educational institutions.
essay worth our serious attention. But one At the time of writing, the expected debate in at in the Gallery, and cannot be shown or realized
cannot help noting that in this turn to political the Commons on the issue has not materialised, here. These artists are going out of the Gallery
combat, Mr Heron has become a pretty and it is not yet clear whether a Bill would be into the environment, the sky, the ocean, even
accomplished chauvinist himself. His deep required for the proposal's implementation. The into outer space. Others are seeking imaginative
respect for certain American painters—he names Campaign's immediate plans centre around the ways of utilizing modern technology to humanize
Rothko, Motherwell, Newman and Reinhardt— demonstration of opposition by artists in the people instead of for commercial or destructive
is, I gather, unaltered by this political campaign. form of a giant collage made up of small works purposes, which de-humanize us all.
Furthermore, as modern technology becomes
But he now sounds alarmingly like an apologist and/or statements of protest. The response to this more sophisticated, artists who use its products
for everything British. How ironic it would be if indicates the Art World's general opposition to as their medium are producing works of
the proposal. A few artists have responded
the American steamroller ultimately succeeded
negatively, stating that museums and galleries increasing complexity, with result that it
in flattening this gifted critic into just another becomes increasingly demanding of the Gallery's
need every financial assistance they can get; the
two-dimensional ideologue! q intention is good but the means is unacceptable resources to mount exhibitions of those who are
Copyright 1971 by The New York Times Company. not only for the reasons cited in the editorial but exploring in depth the potentials of scientific
Reprinted by permission. also because it is based on a false premise—that developments.
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