Page 25 - Studio International - May 1973

sacrilegious. Recently, it has been contended to a long-standing government policy in justification.
that such research fosters the illusion of political relation to artists. The artist is regarded as a More research is needed in the field of
neutrality, of an aesthetic socially beyond good producer of goods for which there is only a very environmental design, if only to pass from the
and evil; there is no question, these critics say, small market. The government takes over the repetition of ecological slogans to a real
but that every art form is bound up with the role of the individual consumer and buys part understanding of large-scale visual structures.
social conditions out of which it arises and that of his production - instead of reducing the Art schools may also help undermine the
form has to be investigated with regard to number of artists by re-schooling and by notion that work in the visual arts must result
political content. However, the available restricting training facilities. Traditional respect in the production of objects. We have lots of
political theories offer no satisfactory clues as to for that superior being, The Artist, seems to works of art already, whereas - in Holland at
the relationship between form and significance; play a part here. Non-economic motives also least - there are very few people capable of
they will have to be complemented first by show in the fact that government support can be clarifying their significance, by mediating
research taking the actual handling of the withheld on aesthetic grounds. The revised between artist and public, or by supplying the
medium as a starting point. This is manifest, regulations of 1972 retain this confusing necessary theoretical framework. Such
indeed, in much politically-oriented art as well mixture of economic and artistic criteria, but activities should be regarded as legitimate in the
as in the formal aspects of many political stress the former by making admission more visual media and not as something going on in a
actions. There is a tendency to place intention difficult while authorizing selection committees kind of art-world limbo peopled by artists
before form which causes the message to lose its to advise the artist to have himself re-schooled or manqués and art historians. There is no
impact because of inadequate coding. to look for other 'suitable occupations'. Despite failure implied in setting out to become an
Behind all this is a traditional aversion in the valuable support many artists have received artist and ending up as a theorist; and a
artistic circles to the verbal medium - despite from this unique system, the impression persists theorist is not condemned to a hand-off
the fact that many revered old masters have that the government regards them as attitude in the presence of big and small
expressed themselves in writing. It is true that economical nuisances to be got rid of. The creators. I cannot here describe how
essential differences between verbal and visual emphasis is on the selling of the goods, not on the various art schools are dealing with
`language' preclude a complete mutual the social function of their makers. these matters. The greatest degree of
`transcoding', and in this sense plastic art is Selling the goods is also a main concern of freedom has probably been attained at
concerned with things for which there are no artists, but interest is clearly shifting towards Enschede, where a number of younger artists
words. None the less, recoding in a new medium the question of art's possible role in society. are being given full opportunity to teach
can reveal much that is not immediately visible Once more, progress is frustrated by defective as they see fit. Debates about the organizational
in the original. Unfortunately, anti-verbalism - thinking habits. Slogans have been taken over structure of the institutions have not been
not to say anti-intellectualism - among artists indiscriminately. The shock of realizing that they as intense as in the universities, at the
is not confined to the visual proper but extends were not after all the pioneers of humanity gave Groningen and Utrecht art schools, where
to all matters concerning their own historical some artists a bad conscience, which resulted in more or less revolutionary changes have
and social position. The conventional image of extreme societism: the specialist nature of their occurred.
the artist as a creative superman, born occupation, the notion of artistic quality, Further development awaits the legal reforms
revolutionary and so on, is too often taken for appeared worthless inventions of a capitalistic about which nothing definite is as yet generally
granted - and used to demand special privileges élite, to be abolished in favour of the cause of known. The primary issues at stake are:
- without awareness of its being conventional, `the people'. This movement has contributed adaptation of programmes to the individual
i.e. historically determined and subject to much to the anti-formalism discussed above. needs of a great variety of students; integration
change. In the art schools, Psychopolis reflects this of the visual arts into the wider domain of visual
The time is past now when a student's tendency, although as far as training goes, the culture; and the new government policy of
knowledge of contemporary art depended specialist nature of working in the visual media linking the professional schools to the
entirely on his own interests and the chance cannot wholly be ignored. universities. The latter might help to heighten
involvement of individual teachers. I recall, A clear understanding of science is essential the intellectual level of art education and supply
however, the suspicious attitudes of many of my for participation in our society (and should be much information the art schools are at present
colleagues, not ten years ago, towards any part of everybody's education), but we cannot all unable to provide. On the other hand, the
tendency that showed up in the art world after become scientists. Similarly, specialist handling profound historical differences between the two
they had completed their studies - what they of the visual media must be recognized as an types of institution should not be underestimated.
preferred to call fads and fashions. At the extension and refinement of a universal activity - Moreover, the constellations under which
moment, we have to guard against the opposite: and be taught as such - without giving up its co-operation is to be effected do not seem
the indiscriminate use of the latest inventions - specialist achievements. Art should abandon its very favourable.
the old narrow view transferred from the extraneous position in the communications Art schools and the universities are evolving
prescribed sequence of colours on the palette to network, but not the skills accumulated over in opposite directions. The increasing freedom
the notebook filled with projects for ditches and generations of visual experience. They will be within the art schools, however, has to do more
dikes. If anything, this is the way to turn new needed in the shaping and reshaping of our with the collapse of former certainties than with
art forms into fads and fashions. consciousness. the emergence of new viewpoints. It is significant
The student still finds the transition from the The art schools cannot remain aloof from the that both the ministerial advisory committee
relative security of the art school to the world process of re-defining art's role in society during its three years' activity (1969/72) and the
outside unexpectedly difficult. The break without setting a few more generations of art schools themselves have failed to produce a
occurring at this point has been a matter of artists helplessly afloat. For one thing, they coherent picture of future art education.
concern for a long time now. Formerly might be obliged to make things harder for Meanwhile the trap is closing around the
the problem was envisaged primarily in would-be 'autonomous' artists. This is not to universities. Progressive streamlining threatens
economical terms : one reason for breaking contend that art has to justify its existence the entire educational system. Said a cabinet
down some of the boundaries between by its immediate social relevance, or that minister who co-initiated the reforms presently
departments was the need for painters and preoccupation with the environment will assure under debate: 'We must learn to live with a
sculptors to learn some more 'useful' trade (like an artist's social acceptability. No art, however, shortage of educational facilities during the
illustrating and designing posters) by which to is to be accepted on the grounds that the exertion seventies . .
support themselves. This approach corresponds of creative powers is in itself a sufficient COR BLOK
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