Page 24 - Studio International - June 1973

developed as much as possible.' 'Art is not free' `Manipulation, paintings by Daniel Buren,
This comment implies that the teacher is presented by Jack Wendler'. You have been
sufficiently interested in the inherent conditioned both by receiving this announcement
Daniel Buren's work was shown at the Jack
capabilities of the immigrant children in his and bringing yourself here to see an exhibition of
Wendler Gallery, London, 9-3o March 1973.
classes to base his art programmes on these paintings. Your reasons for being here may be
The room was empty except for a video machine,
capabilities. varied: social, professional, sceptical, critical,
on which could be seen the artist speaking the
aggressive, curious, hostile. . . . you could be
text reproduced below. People who were
Comment No. 4 here by mistake, with a friend, by force, because
interested had to ask to see the exhibition, which
`. . . in this department it is presumed that, of your boredom, because of your interest, to be
consisted of seven paintings on linen which
when the children first come to us from junior seen, maybe to see an exhibition of art . . . As you
were held up by the gallery owner, who
school, they have had no specialist art can already see, with the exception of the video
sometimes had to be helped by the viewer in the
training . . . if any child introduces into his that you are watching, the room is empty of
case of the larger works.
work any characteristics, (of previous cultural anything hanging on the wall or glued to the
and art experience) all well and good but no wall. This does not signify that there is nothing
comment would follow.' to see in the exhibition or that it has not yet been
The views expressed in comment 4 appear installed. The exhibition will not be installed
to be antithetical to any art programme but the work will be visible.
indicative of the promotion and utility of the You have arrived from many different areas to
previous art experiences and activities of this specific location which is the Jack Wendler
immigrant children, as well as those of English Gallery which is not only a location to see this
children. The comment indicates a firm denial exhibition but all those before and after. In this
of any art experiences a child may have had context, do you not think that this location has
before entering secondary school, with the an effect on the exhibitions which you come to
implication that art education only starts in that see here ? Outside the fact of the physical
particular teacher's classroom. location I have just described, this gallery,
The comment is an instance of a common although it is new, has a certain reputation from
attitude identified by Brian Allison in noting preceding exhibitions from which the
that exhibition cannot escape. At the same time the
`. . it seems somewhat curious in the light of next exhibition will be partly framed by this one.
developments in other subject areas that there All the exhibitions here have the same frame,
appears to be a consistent inability to consider and this frame is not neutral. But to pretend to
the development of learning in art as being escape from these limits is to reinforce the
cumulative.' prevalent ideology which expects diversion from
Infant and junior school art experiences do the artist. Art is not free, the artist does not
play an important role in the education of express himself freely (he cannot). Art is not the
children, and it seems most unlikely that a prophecy of a free society. Freedom in art is the
denial of such experiences will terminate their luxury-privilege of a repressive society. Art,
influence on any future art work of the whatever it may be, is exclusively political.
children. What is called for is the analysis of formal and
It is perhaps unfortunate that many art cultural limits (and not one or the other) within
teachers tend to assume, because of general which art exists and struggles. Those limits are
assimilationist policy, that purposeful many and of different intensities. Although the
references to, or specific utility of, past cultural prevailing ideology and the associated artists try
experiences of immigrant children in their in every way to camouflage them, and although
classes would be contrary to the wishes of it is too early — the conditions are not Meant to
authority, and in the long run of no intrinsic blow them all up — the time has come to unveil
value to the children themselves. And it is them.'
possible, because of attitudes of this kind, that All installations in galleries are in fact
much valuable insight into Pakistani, Indian, decorations of that place. Today, this particular
and West Indian art forms is being lost to exhibition for which you have especially come,
English schools. It is also possible, because of will be visible and only visible if you express a
these same attitudes, that art education in many desire to see it. This exhibition is not only
schools is not able to contribute properly to the limited and defined by these walls, the system,
full education of the immigrant child. the intent of the artist, March 1973 etc . . . etc .. .
Tolerance and understanding are usually it depends also completely on your willingness
regarded as desirable and necessary traits for to make this exhibition possible. A work is done,
coexistence. It seems that in a multi-racial You are watching a television screen. yet it is necessary that you wish to see it. If you
school situation, any exchange of cultural ideas, I am going to use it to read a text. What has are interested to see my work and if you want to
in particular by visual means, should contribute begun here is a short tentative explanation of the see possible applications of my work, Jack
to fuller pupil understanding of many cross significance of the situation in which you now Wendler is at your disposal to present some of
cultural characteristics. This could well be a find yourself. This tape, made especially for this my paintings. Only then will the exhibition of
form of logical preparation for the future of exhibition will be shown for the duration of the this work be complete.
Britain and other countries with multi-racial show and then erased. This tape is not a work of Thank you very much for listening, and now,
communities. q art. if you wish, please ask to see the exhibition. q
CLIVE COLLING From different places, by different means you DANIEL BUREN, March 1973
have arrived at 164 North Gower Street here in
Extract from 'Limites, — Critiques' edited by Yvon
London after having received an announcement: Lambert, Oct. 1970.
254