Page 26 - Studio International - July August 1972

Festival 'Sculpture in the City' exhibition later Very few of the works exhibited had been unaware of the realities of the situation and fail
the same year, the 'Sculpture in Nottingham' specifically made for the sites on which they to realize that conditions encountered showing
exhibition in 1968, the 'Coventry Cathedral' were shown and in almost all cases the scale was work in public outdoors bears no relation to
exhibition of British sculpture in 1968 and the insignificant. This was hardly surprising in that public exhibitions in art galleries. This by no
`Ten Sculptors, Two Cathedrals' 1970 one cannot expect sculptors to make large works means invalidates the concept of City Sculpture
exhibition, the major drawback was that, in the involving relatively large materials and but it does create a situation with which the
main, the organizers were not in a position to fabrication costs and to keep them in their back sculptor must be prepared to come to terms at
commission works and relied on existing works gardens on the offchance of an invitation to the outset.
where scale and suitability of materials were exhibit in some central city area. Insurance cover is a major problem and
limited by the sculptors' own financial resources. Unless one has actually had experience of the while it is not too difficult to obtain public
The Arts Council Exhibition 'New matter, it is very difficult to fully appreciate the liability insurance, it is quite another matter
Sculpture 1969', which was first shown at extent of the problems brought about by when it comes to insuring against damage or
Stevenage, sought to overcome this problem by showing work outdoors (as opposed to a gallery/ theft. Large premiums, a comparatively high
specially commissioning works from five private house context) and exposed to the self-insurance on the first part of each and every
sculptors who were then working at the unpredictable reactions of a puzzled and often claim and the use of the services of a security
Stockwell Depot in London. In this type of superficially hostile public— problems intensified patrol organization are often found to be the
showing the problem was that the works were by the absence of 'keep off' notices and bevies conditions laid down.
to be shown on a number of different sites which of uniformed attendants. Not only is there a
considerably complicated the situation in terms question of satisfying local authorities of the
of installation and suitability. structural safety of works but also of ensuring (Below left)
John Dee Dayspring 1968
Following these exhibitions there was a series that rust-retarding finishes are really adequate; `New British Sculpture/Bristol'
of informal meetings at the Arts Council's offices that the work will stand maltreatment; that (Below)
between people who had organized outdoor materials other than steel are really inherently W. Taylor Calthae and Chevron
exhibitions of new sculpture in Great Britain— suitable for the weathering and treatment they City of London Festival 1968
Photo Errol Jackson
in an endeavour to make the most of the will receive and ensuring that they are used in (Bottom left)
considerable experience that had been gained. such ways as will not invalidate these qualities. Roland Brener Sculpture
The recurring topics were scale, inability of Sculptors, perhaps reasonably, feel that a `New Sculpture/Stevenage' 1969
work to stand the conditions encountered, work which has resulted from much effort and (Bottom right)
insurance—all of which related to the problems expense deserves a certain respect on the part of Tim Threlfall
Sculpture
of inadequate finance. those viewing it. They are too frequently `Sculpture in Nottingham' 1969

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