Page 59 - Studio International - June 1973

A note on David Tremlett's
work

during May and June. At the Marlborough
solid colour, pinks, reds, greys, yellows, buff.
during the summer there are shows of work by
The Brooklyn Museum has mounted an
Botero, Pistoletto, Pisani, Melotti, interspersed
excellent exhibition 'African Art of the Dogan :
with an international collection of young artists
The Lester Wunderman Collection'. It
not tied to the gallery in any way.
consists of over 100 sculptures in brass, copper,
David Tremlett's exhibition, 'Spring Recordings',
In Venice at the Cavallino, Tornquist, iron, terra cotta and wood from Mr
shown at the Konrad Fischer Gallery in 1972 and
Azzaroni and Anselmi are on exhibition during Wunderman's private collection. The Dogan at the Museum of Modern Art in 1973, consists of
June. The gallery is also publishing a book by people are African cliff-dwellers who live on the eighty-one cassette tapes, fifteen minutes long,
recording sounds of spring in the counties of
Antes Für Belly und Alan Davie this month. q Niger River in Mali and the exhibition well
England, Scotland, and Wales. While each tape
ALESSANDRO MOZZAMBANI illustrates their habitat and the close relationship contains the particular sounds of a different
between their art and their architecture. location, the overall feeling is one of uniformity—the
essence of a pleasant springtime.
USA Early in April, before the death of the Tremlett's work is characterized by a balance
Recently in New York there were two one-man artist, the Museum of Modern Art installed a between the romantic subject and the clear, minimal
exhibitions of work by English artists. At the 13-foot metal rod sculpture by Pablo Picasso in structure of presentation. The 'Spring Recordings',
for example, are arranged in a precise row at a high
Lawrence Rubin Gallery Tim Scott showed its sculpture garden. The piece was conceived in
eye-level in order that they may be seen formally
four large sculptures made of steel and 1928-29 in a series of 'drawings in air' both as sculpture and as the geographical mapping
acrylic blocks, all dated 1972. The pieces, sculptural models. It was one of four models of sound. Similarly, in another part of the exhibition
at MOMA, small landscape drawings on cards are
each approximately six by six feet, are originally intended to be realized as a memorial
arranged in a horizontal row 5 ft 8 in high. The
composed of several large slabs of acrylic, each to the poet Apollinaire, who was his friend. effect is again generalized, for instead of being
about two inches thick, joined by bars and rods At the New York Cultural Center, `Eadweard differentiated as particular sites, the drawings have
the dreamy quality of remembered landscape.
of steel whose shapes sometimes echo those of Muybridge: The Stanford Years 1872-1882'
The third part of the show at MOMA is a display
the edges of the plastic. The juxtaposition of the opened in May and runs through July. The of postcards that Tremlett sent back to England
shapes is not particularly surprising or show has been organized by Anita Venture while travelling from Düsseldorf to Australia in
1971. While the mid-Eastern countries through
original. The most interesting qualities about Moxley, Curator of Photography at Stanford
which he passed can be seen as exotic, the cards
the sculpture are the frosted edges of the acrylic University Museum of Art. picture such intensified realities of colour and
slabs and the use of cylinders of plastic as a buffer The studies of motion, the first successive scenery that they do not serve a descriptive function.
They present a conceptual drawing or map of points
between the acrylic and the steel elements; both instantaneous photographs of humans and
on the globe, concerned with purely physical
lend a delicate drawing to the work. animals, as well as his early landscape relations between places rather than anthropology.
In the Cunningham Ward Gallery, John photographs are represented. Also included in Tremlett's interest in the English countryside is
similar in some respects to that of his contemporaries,
Walker exhibited two large wall pieces, one the show are paintings by artists like Eakins and Gilbert & George and Richard Long. The landscape
predominantly red and the other in tones of Meissonier who were influenced by Muybridge. in Tremlett's work, however, is a field for pattern
grey. Each is rectangular in format and filled Alanna Heiss, Director of the Institute for and rhythm instead of a stage for narrative activity.
Gilbert & George use landscape to provide a
with drawings of whitish circular shapes, and Art and Urban Resources, has initiated relation between natural form and urbanity — the
they are quite reminiscent of the paintings a programme in which 'urban space traditional pastoral conceits in their drawings and
Walker has shown previously in New York. is utilized in interesting and imaginative poetry recreate the fin de siècle irony of decadent
man in innocent nature. Richard Long sets himself
David Novros, who has also been working ways for the purpose of viewing contemporary in nature as a friendly antagonist; the landscape is a
directly on the wall recently — he executed a art'. Currently she is using a donated space ground for measuring distances, rates of movement
fresco for the Museum of Modern Art last year— on the 13th floor of the former New York and endurance.
While Long and Gilbert & George tend to
had six new canvas paintings at Bykert Gallery Life Insurance Building on lower Broadway. anthropomorphize elements of nature, Tremlett is
last month. In Novros's last canvas paintings The space, the Clocktower, which overlooks more impersonal in his use of landscape for formal
and the fresco he seemed to be concentrating all of lower Manhattan and is difficult to investigations. He works toward essential qualities —
of a day, of green, of springtime, for example — each
primarily on surface handling. He now seems to find, is well worth the trouble it takes to category satisfied by a large number of particular
have resolved the problems of surface technique get there. The first show was sculpture by cases. The materials of his art — drawing,
and these new paintings show what he can do Joel Shapiro; following that will be works by photography, words, and recorded sound — are
modes of concretion presenting levels of reality
with colour. Each has two or three panels hung Tuttle, Bishop and Rauschenberg.q
resolved from the abstract generating concepts. q
flush together filled with L's and rectangles of LINDA CATHCART LIZZIE BORDEN
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