Page 22 - Studio International - October 1972

devices frequently identified with one or
another independent or avant-garde
phenomenon. Through these techniques,
Frampton underscores the perennial conflict
between these traditional foes, at the same time
that he consciously and almost didactically
emphasizes the facture and perception of film.
With this brief look at work from the
contemporary avant garde, several remarks of
Robbe-Grillet, for their relevance to film, are
again brought to mind. Speaking in defence of
the new novel, he writes : C.. . the novel is not
a tool at all. It is not conceived with a view
to a task defined in advance. It does not
serve to set forth, to translate things existing
before it, outside it. It does not express, it `La Peinture Anglaise Aujourd'hui' is the
title of an exhibition opening on 6 February
explores, and what it explores is itself '.16
So it is with the recent film discussed here. at the Musée d'Art Moderne, Paris. The
And in exploring, these works tend to overturn exhibition is being organized by Radu Varia,
assumptions about acceptable kinds of form the Rumanian critic, with the assistance of the
and, simultaneously, assumptions about British Council. The artists who will be
perception of those forms. exhibiting include Peter Blake, Robyn Denny,
In another passage, Robbe-Grillet contrasts Patrick Caulfield, Bernard Cohen, Stephen
the reader's passive role as recipient of the Buckley, Ivor Abrahams, Alan Green, David
ready-made world of the bourgeois novel with Hockney, Richard Hamilton, Richard Smith,
his changed relationship to the new novel: Mick Moon, Bridget Riley.
'For, far from neglecting him, the author
today proclaims his absolute need of the William Blake's birthday
reader's co-operation, an active, conscious Simon Wilson writes : William Blake's
creative assistance. What he asks of him is no birthday will be celebrated at the ICA on the
longer to receive readymade a world completed, evening of 28 November by Jim Leon and
full, closed upon itself, but on the contrary to Bruce Gernand (a philosophy graduate from
participate in a creation, to invent in his turn the University of California), when they show
the work. . .'17 a mixed media work which, as well as being a
Similarly, the avant-garde film-maker asks homage to Blake will form part of the ICA's
for this kind of active participation. The autumn programme on 'The Body'.
perceiver must be open and be willing to Although OZ has regularly published his
question and be questioned by such work. And drawings, Jim Leon is unknown to the official
in the process of being questioned and London art world. Born in Wolverhampton in
challenged, Eliot's reminder to the poet seems 1938 he went to Birmingham School of Art
most appropriate: 'He must be aware of the before moving to Lyons, France, where he
obvious fact that art never improves, but that lived until his return to England two years ago.
-the material-of art is never quite the same'.18 - From about 1.96o he was making paintings
which combined the influence of Bacon with
pop imagery. This imagery, however, was
quite unlike that of his English contemporaries
"From Realism to Reality', For a New Novel: Essays
on Fiction, trans. Richard Howard (New York, and quickly evolved into an entirely personal,
1965), p. 159. strongly erotical-mystical, mythology. In Lyons
'The Village Voice, December 28th, 1967.
'December 22nd, 1967. he met and collaborated with Roger Planchon,
'December 31st, 1967. designing the major production (an elaborate
'Saturday Review, December 23rd, 1967, p. 24. fantasy based on Le Cid) which Planchon took
'Ibid.
'Saturday Review, July 6th, 1968, p. 15. to Paris in autumn 1968, and in 1970 he
'New Republic, December 23rd, 1967, p. 22. designed Jacques Demy's film of Perrault's
'Ibid., p. 38, and February 10th, 1968, p. 37. fairy tale Peau D' Ane. He is currently creating
"'Modernist Painting', Arts Yearbook, IV (1961), 103.
"Art as Technique', Russian Formalist Criticism: sets and costumes for a production of Berlioz's
Four Essays, trans. Lee T. Lemon and Maron J. Reis Symphonic Fantastique at the Lyons Opera
(Lincoln, Nebraska, 1965), p. 13. House (opening 8 November).
"'Hollis Frampton Interviewed by Michael Snow',
Film Culture, no. 48-49 (Winter-Spring, 5970), p. 11. London should welcome the opportunity
"Film Culture, no. 47 (Summer 1969), p. 1. to see his work: he seems to be unique in his
"Quoted from this author, in 'Paul Sharits : Illusion generation, one of those compelling visionaries
and Object', Artforum, X, i (September 1971), p. 56.
For a fuller discussion of flicker as well as an that crop up from time to time in English art.
extensive study of Sharits's flicker works, the reader
is referred to this piece. Gimpel Fils Gallery have announced the
"Film Culture, no. 48-49, p. 10.
"'From Realism to Reality', p. 160. opening of their new premises at 3o Davies
"'Time and Description', For a New Novel, p. 156. Street, London WI, where the much enlarged
"T. S. Eliot, 'Tradition and the Individual Talent', display rooms enable them to show their
The Sacred Wood: Essays on Poetry and Criticism
(New York, 5964), p. 51. paintings and sculptures to better advantage.