Page 38 - Studio International - November 1973

the decorative and the odd amputation or two place are more important than formal been narrowed rather than enlarged. Two of the
and you have some idea of the new Chicago art. principles. John Canaday is reflecting the youngest painters going to Sao Paulo — Ramberg
It was cruel, gritty, crass, nostalgic and spirit of this regionalism when he says that and Hanson — are almost exclusively concerned
somehow fulfilled the image of Chicago as NCFA should tailor its overseas exhibits to with slightly out of date, midwest taste. The acid
immortalized by Nelson Algren, Al Capone and suit the locale. The Chicago artists are sentimentality of Hanson's Country Club
Mayor Daley. To the surprise of 'The Hairy regionalist in their indifference to the Dance and Yellow Lily suggests that he has
Who' Chicago patrons liked it ! Brazilian political situation. And in the art fallen into the trap of using Dubuffet's invitation
Following on the heels of the success of the world, the new Chicago school is only the to annex hostile worlds as an excuse to play
`Hairy Who' other groups with similar interests most recently launched and currently most taste games.
showed at the Art Centre. While none had the visible assault on the assumptions of the New There is no question that as a strategy and
verve and chutzpah of the trail blazers each York mainstream. For example, California state of mind, the brand of regionalism fostered
exhibition contained a few artists who attracted artists living in and around Mill Valley and by the Hyde Park Art Centre in the late 1960s
gallery and critical attention. Paschke and Flood Sacramento share with the Chicago group a was successful in giving Chicago artists increased
from the 'Nonplussed Some'; Brown, Hanson determination to mine local resources and confidence and a sense of identity. But as a
and Ramberg from 'The False Image' and reflect local colour; and a profound distaste style and a school of the 1970s it suffers from
Barbara Rossi from 'Marriage Chicago Style'. for the elitist intellectual atmosphere of the the exodus of the strongest artists from the city.
Gradually the fame of the Hyde Park Art New York art world. (Interestingly enough H. C. Westermann has long since settled in
Centre and the kind of art it was sponsoring James Nutt, Gladys Nilsson and Karl Wirsum Connecticut. Nutt, Nilsson and Wirsum have
began to attract national attention. Besides the all moved to Sacramento a few years back). moved to Sacramento, and one can see
`Famous Artists' show in 1969 a show of the No doubt other groups with similar ideas are to they are moving steadily away from using local
`Hairy Who' was mounted in the Corcoran be found in Texas, in Minneapolis, in St Louis. references. What remains of their gutsy spirit in
Gallery of Art in Washington and the artists The regionalist state of mind in Chicago, Chicago are memories of the heyday of the
appeared en masse in 'The Spirit of the Comics' however, has resulted in a very particular Hyde Park Art Centre and a tradition that is in
exhibition in Philadelphia. product with its own particular strengths and danger of becoming a strait-jacket for younger
The i973 NCFA choice for the São Paulo weaknesses. At best it is strong, crackling and artists. Of the artists who remain, only Ed
Bienal would seem to indicate that the new gutsy with a fine decorative feel for materials Paschke, badly represented in the São Paulo
Chicago art has definitively arrived. But where ? and colour, and a grass roots quality which is Bienal, shows a steady independent
The new regionalism is not a style but a appealing. In 'Made in Chicago' Nutt's development. It is perhaps, in his pungent
pervasive state of mind that can accommodate Nose Jam; Paschke's Heavy Shoes; Nilsson's explorations of life and counterfeit, of façade and
many styles. In its broadest sense it is a world Very Worldly and Reclyning Blakveenus Rabbit reality that a future for imagist Chicago art
phenomenon as well as an American and almost all of the Westermann have these 'It is 'unofficial' only in the sense that the State
phenomenon, born of disillusionment with the qualities. But at its worst Chicago art is Department is not officially sponsoring the
exhibition as a competitive US entry to the Bienal.
search for universal values and a profound precious, campy, ingrown, and suffers from a The Brazilians regard it as the US entry and the
distrust of missionary zeal. It is a 'do your own myopic and defensive view of art. The irony of works will be eligible for prizes. The State Department
thing' and 'dig in your own garden' state of Dubuffet's influence is that with each for its part regards the show as part of its regular
touring programme and will send it to other South
mind which says that immediate time and succeeding generation, the area of conquest has and Central American cities after it closes in Brazil.

(Left) (Above)
James Nutt Philip Hanson
Nose lam 1971 Yellow Lily 1972
Lent by Mr and Mrs H. M. Buchbinder, Chicago Acrylic on masonite
48.8 x 46.5 cm
186