Page 26 - Studio International - May 1973

Ateliers 63: is continued in the housing accommodation run lot of time collecting materials for him, giving
by a subsidiary foundation. phone calls, searching addresses and names,
international Many of the participants come from outside helping him in every way to make, for instance,
Holland, and this year there are two British the article by Pierre Gaudibert possible.
working centre for students, Carl Johnson, who received his The result is, I may say, quite unexpected.
DipAD from Newport College of Art, sees The only artists Mr Forge seems to have spoken
artists `Ateliers 63' as a logical sequel to the work to and taken in consideration are Caderé — and
he was doing before, and finds it an ideal of course! — Buren, i.e. two colourful figures of
structure in which to develop further. Beverly the small Saint Germain des Pres area, who
Parke, who did a diploma course and one year of both have probably a little importance on the
`Ateliers 63', in the ten years since its post-graduate work at the Belfast College of Art, Parisian scene, but who are far from being
foundation, has questioned the nature of art considers that the difference between 'Ateliers representative of what's happening in France.
education and developed a totally new approach 63' and the usual art college structure lies in the As for the one French critic allowed to express
to it. In thirty individual studios, supplemented fact that responsibility rests completely with his ideas in your magazine, he is the one no
by welding, woodwork, photography and oneself, whereas the art college provides an continental art reviews would probably
graphic workshops, an equal number of young umbrella which tends to relieve students of accept to publish because of his too well known
`participants' work for two years with a group of this burden. insincerity. Indeed, Mr Claura's article is but a
important Dutch 'instructing' artists. The The working methods of 'Ateliers 63' have bunch of petty parisianisms, gossips and
Institute has been organized in such a way that made it possible for a number of Dutch artists personal attacks — on myself among others
the development of the artistic personality of of different artistic viewpoints to meet and (probably as a reward for my helping you!).
each participant is the basis of its activities. This recognize a common attitude which is not only Mr Claura: columnist or calumnist ?
is reflected not only in the individual studios in relevant to the aims of 'Ateliers 63' but also I won't waste my time to refute his
which the participants work, but also in the fact extends further into ideas which indirectly assertions. Just a few points :
that the responsibility for the artistic relate to their own work. They include Wessel Point 4. L'Art Vivant is indeed supported by
management lies solely with the 'instructing' Couzijn, Jan Dibbets, Ger van Elk, Edgar the Maeght Gallery. Would Mr Claura clearly
artists and not with the board of the foundation Fernhout, R. H. Fuchs, Reinier Lucassen, Jan define how the content of l'Art Vivant is
or the Ministry. The consequence is a totally Roeland, Paul Schotel (managing director), influenced by this patronage ? Another question:
independent position with regard to art Carel Visser and Marcel Vos. They have no of which Parisian gallery is Mr Claura, a
education, absence of a fixed curriculum, and permanent appointment and receive fees as supporter of Mr Buren, the regular critic ?
flexibility in allowing for a wide range of opposed to a salary. This implies that their Point 5. Too bad! Baratella's painting was not
artistic approaches, which is mirrored by the teaching does not become a profession and destroyed by court order. This success over
artistic diversity of the 'instructing' artists. enables them to function fully as artists or (in censorship was largely due to a press campaign
`Ateliers 63' has rejected the notion of art the case of Fuchs and Vos) as writers. q where l'Art Vivant played a determinative role
education with its emphasis on technical TOON VERHOEF by publishing a petition. As far as I know, Mr
know-how, and concentrates instead on the Claura did not sign it. Mr Claura plays the
artist in each individual participant. Jan revolutionary game but Mr Claura is not so far
Dibbets, who has been an instructing artist a revolutionary critic.
since 1969, formulates this as follows : 'The Point 7. What would Diane Waldmann, Curator
participant has his own studio. In there he is Correspondence at the Guggenheim Museum, who organized the
autonomous and has everything for the asking. French show and selected the eight artists,
He may discard the opinions of those who come Milan Knizak imprisoned think of Mr Claura's assertions ? Ask her,
into his studio'. Unlike Dutch art schools, The well-known Czech avant-garde artist please. Another question: which artists from
`Ateliers 63' is not financed by the Ministry of Milan Knizak was sentenced to two years in Düsseldorf and Amsterdam refused to take part
Education but by the Ministry of Culture, prison for publishing a book 'Ceremonies' in the show ? Mr Claura as an art critic, is
which recognizes it as an artistic 'event', and (Zeremonien 1971, Vice-Versand, definitely ill-informed!
only stipulates the formulation of the artistic D-Remscheid, Postfach 100343, West Point 9. How can Mr Claura criticize a book he
principles which guide it and the organizational Germany), and for texts and documentations of probably did not read ?
structure to carry them out. his actions and events which he gave to the Enough skipped the issue: the whole is but a
The participants are selected on the basis of collector Hans Sohm and which were confiscated bit of tendentious rubbish.
their work. The instructing artists in the while he was crossing the Czech border. JEAN CLAIR, Paris
institute have a common interest in the process of Milan Knizak was sentenced without a single
artistic activity rather than in the results shown piece of evidence against him. He is completely
by those candidates who are selected. (The work innocent and if he goes to prison all artistic A Note from the Editor
submitted should reflect the candidate's freedom in Czechoslovakia will go with him. The material on Agnes Martin which appeared
development over two or three years.) There are Therefore we ask you to do your utmost to in our February issue was from the Agnes
no specific requirements for previous formal protest against what has happened. Both in the Martin catalogue published by the Institute of
training so that self-taught candidates may also press and in personal protests sent to the Contemporary Art, University of Philadelphia,
be considered for admission. 'Selection also president of Czechoslovak Socialist Republic. on the occasion of the first comprehensive
continues to play a role during their work in Milan Knízák must be cleared of these charges. exhibition of the art of Agnes Martin
"Ateliers 63". This is the consequence of our Thanks. (January 23-March I, 1973). The title of
view that it has to remain a living institute and Lawrence Alloway's essay should have read
has to be recognized by the participants. They Correcting Claura `Agnes Martin'; Ann Wilson's role in
must justify every moment of their stay.' (Edgar The recent issue of Studio International about assembling 'The Untroubled Mind', a
Fernhout, instructing artist since 1966.) The art in France today, was a great disappointment. compilation of statements by Agnes Martin,
artists pay weekly visits to the participants' Even more: it made me angry. was not made sufficiently clear. We regret that
studios, on a free basis. Contact between When Andrew Forge came to Paris to prepare the material on Agnes Martin was printed
participants is an equally important factor, and it, I agreed to welcome and help him. I spent a without final editorial and footnote corrections.

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