Page 28 - Studio International - November 1973

and to evaluate the very limits of its innovation. (Top left)
The work of Dan Flavin and Carl Andre Ivan Puni
reveals its sources; the writings of Robert Suprematist
Construction 1915
Morris discuss them (`Robert Morris', Wood, metal,
Washington and Detroit, 1969-1970, catalogue cardboard
271 x in in.
of the exhibition); together they bring to light a
conceptual notion of two artistic evolutions (Above)
Vasily Ermilov
which have much in common.
Oval Composition 1923
Unable to stop the imperious desire for Oil on wood
knowledge, art criticism eagerly follows the and masonite
great intellectual adventure of this century, in 211 x 17f in.
which we are only beginning to perceive its (Left)
Vasily Ermilov
scope in the domains of social science,
Windows 1922
linguistics and art. It is time that the latter, Oil, metal, sand on
which during the Revolutionary years was the wood
27½ x 20¾ in.
worthy builder of a new mentality of our era,
Photos courtesy
attains the understanding and distinction it Fischer Fine Art Ltd
deserves.

Footnotes
1 Kenneth C. Lindsay, Book review of El Lissitzky:
Life, Letters , Texts, Art Bulletin, New York,
September 1972, p. 37o-371.
2 The limited amount of work by Marcel Duchamp
does not inhibit writers on this artist's work, contrary
to Russian non-objective art.
8 Even recently such important creators as Lissitzky
and Rodchenko were qualified as 'epigones', by
John E. Bowlt, 'Russian Formalism and the Visual
Arts', loth Century Studies, University of Kent,
Canterbury, December 1972.
J.-P. Bouillon, `Le Cubisme et l'avant-garde russe',
Le Cubisme, Université de Saint-Etienne, 1973,
Travaux IV, Colloque sur I'histoire de l'art
contemporain, p. 153-223.

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