Page 65 - Studio International - November 1973

describes its content and origins: 'Terms and glossary lists the more important foreign terms, '
labels describing movements, styles and groups (and several foreign language publications have
derived from the vocabulary of artists and been drawn upon) 'the bulk of the entries are
critics'. Obviously the prime function of the Anglo-American'; but, elsewhere, the author
Glossary is to explain to the reader the meaning emphasizes that the period covered has seen the
and origin of a term encountered in art literature triumph of American art, matched by the
or art writing, or in other words to consider triumph of American art criticism, England
terms from the point of view of the consumers making its mark particularly in the field of
of art language. The author is aware of the architectural criticism. This declaration
role and the lacuna which the Glossary now fills : prompts one to question whether the origins
`Even the most cursory examination of today's of the book give the content an English bias;
art books, journals, newspaper articles and however, other than in details, there would
exhibition catalogues will confirm that a seem to be far less likelihood of this since the
considerable nomenclature exists and there is no specialist publications which have been
adequate published guide ... to help the reader examined, certainly in the field of art, would
negotiate the intricacies of modern art seem to include at least as many from America
criticism'. 'Also it has been my intention to as from England. The newspapers and general
concentrate on the more conceptual and literary magazines cited do tend to be English,
theoretical notions which are so often neglected (one can even guess which newspaper the
by art dictionary compilers'. 1945 is taken as a author regularly reads), but this does not seem
starting date because of the existence of an to be important since much of the writing to be
adequate literature dealing with art and art found here uses a vocabulary coined in the
terms prior to this time; similarly within this specialist magazines; even so it is useful that
chosen period more emphasis is given to recent terms used in newspapers have also been
terminology because the earlier terms are scrutinized since it is usually at this point that ,
comparatively better documented. However, a the interested layman is stalled by unfamiliar
glance at the bibliography at the end of the terminology.
book, which lists general surveys of this period, The Glossary is well laid out, apart from a
will be sufficient to remind one of how rather quaint title page (and watch out for
inadequately it has so far been treated, numerous small spelling mistakes) with
inevitably far more has been published on each of the 378 alphabetically arranged terms
partial aspects. Again terms referring to printed in large bold capitals. Where
technical processes have also been excluded synonymous terms exist, one is preferred,
because of existing dictionaries which deal e.g. 'Minimal Art' is preferred to eleven
with these aspects, though where a process has alternatives which are all mentioned in that
led to the creation of new kinds of art it entry, thus revealing that while the author
obviously cannot be ignored, thus acrylics, selected terms on a pragmatic basis, this 'process
video, computers, silk-screen printing all was not merely mechanical', indeed he is
feature in the Glossary at appropriate points. concerned about giving some terms 'a spurious
Design and architectural terms have been authority by listing them in glossary form'.
included, as well as terms concerning taste, After the definitions and discussions of the
`because they are ignored by most art 378 terms, the next most useful feature of the
dictionaries'; however, while welcoming this Glossary is the index. The author is well aware
feature, I wonder whether someone immersed of the trap into which the compilers of the
in the language of architecture or design would Oxford Companion to Art and the Phaidon
find the Glossary as useful as someone more Dictionary of Twentieth-Century Art fell (to
concerned with art, to whom architecture and take two recent examples); that is, to assume
design are peripheral subjects. that the alphabetical arrangement of entries
You may already have doubts as to the obviates the necessity for an index. The index
usefulness of this proliferation of art labels; it is to this book is over twenty pages long and
a feature of the introduction to the book that includes well over 2000 names and subjects, so
these doubts are given space, in fact six that one can, for example, be directed from any
quotations knocking categorization are printed, of the thirteen synonyms for 'Conceptual Art'
and are then themselves criticized: 'most to this main entry, thus the number of terms
adverse comments on art labels reveal ... a included and made accessible is far in excess of
lamentable ignorance of the role of language in the 378 which form the headings in the
human affairs'. One reason put forward for a Glossary.
dislike of labels 'is the disparity between the A concealed function of the Glossary is its
label and the art it denotes', without it being usefulness as a bibliography. Following most
appreciated that this is a criticism of language, entries there are several bibliographical
rather than art language specifically. 'In any references, cumulatively therefore one is also
event, the flow of new terms will not be stemmed provided with a bibliography of art, architecture
by mere disapproval', so the author's approach and design since 1945, containing nearly 65o
to art labels has been 'not to ignore them but to references in an alphabetic-classified
confront them head on, to discriminate between arrangement.
the useful and the obscurantist'. Thus far the orthodox uses of the Glossary;
A certain bias is declared: 'although the however, taking it as a relatively objective source

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