Page 64 - Studio International - September 1973

This was one of the first developments pictorial terms without reference to why the limited attitude to the
away from the deep, entirely visual perspective techniques and 'newer' arts? A label which
space of Malevich's Suprematism mathematical devices such as represents an increasing proportion
(which is well represented by small Lissitzky employed. There are other of new artists. Looking further
Malevich drawings in this exhibition) early Russian pieces by Koudriachov, through the catalogue, the common
towards a greater emphasis upon the Annankov, Andreenko, Charchoune denominator between the artists
painting or art-work as a constructed and Pevsner as well as a later Gabo included is a string of 'studies at'
object, which through different means construction. and 'taught at' various art colleges.
had already been instigated by Tatlin. This represents a problem for which
The painting by Alexander Rodchenko the Serpentine is not to blame but
in the exhibition, in contrast, has which it willingly accommodates.
nothing of Popova's tactile picture The concept of the professional
surface. It deals with the problems of artist has been replaced by that of
constructing with colours in entirely the professional art-student-teacher.
two-dimensional terms, employing The exhibitions at the Serpentine are
the primaries with grey, black and always a little like a post-post-grad
white to build up a composition from show. The role of the Serpentine is
conflicting diagonals, pushing not to ' ... provide opportunities for
inwards and upwards from bottom the artist and public to meet in a Michael Ginsborg
right and centre left. He did execute building that is welcoming' but to Etching No. 1 1973
textured works which may have been establish a respected independent Acrylic on canvas
lost but which were important works platform on which an artist can see
in the evolution of constructivist his work taken as seriously as in any disturbing. More restrained were the
theory. This painting at least shows of the 'newer' commercial galleries. canvases of Gina Medcalf. The
Rodchenko's toughness and control These points are less the fault of any atmospheric colour and brush work
in his refusal to let the colours imply individual artist and more the result demanded a calm contemplation
recession or illusionistic depth. They of the Serpentine's amorphic four- which was not possible in the
keep resolutely to the picture surface year existence. central area of the gallery. The work
and are 'constructed' across it rather belongs to an area of English
than into it. There is also a small black The exhibition included five painters painting which comes from looking
Rodchenko linocut that reveals his and one sculptor. The paintings and closely at American post-war art.
debt to Suprematism and his drawings of Michael Ginsborg Images come from the surface paint
adaptation of it to his own ends. The readily established their maturity marks and remain dependent upon
lower edges of many constructivist Klutsis Architectural study 1920 over the other work. The shaped colour and the activity of painting.
pictorial works are imbued with a coloured canvases which were The scale stretches the painting in
visual equivalent of gravity anchoring Apart from Russian works the shown at the Lisson Gallery in 1969 an attempt to assert the fragility of
the forms. This is unlike suprematist exhibition includes other East have evolved to become images the contents.
paintings by Malevich and was European artists who formed links within the canvas. This led to a
adopted to emphasize a parallel with Western European series of drawings in which the The two odd-men-out in the
between pictorial constructions and developments, including Stazewski of shapes formed patterns on various exhibition were the sculptor Julian
three-dimensional constructions the Polish Blok group, the Hungarians dimensions within the limitations of Hawkes, who no doubt qualified by
subject to real weight and gravity. Bortnyik, Laszlo Peri, Lajos Kassak paper and line. The most recent painting his primary structures in
and an early Moholy-Nagy. works were the large black canvases primary colours, and Barry King.
Malevich's Suprematism was titled Etching 1 and 2. He has King's small realist pictures were
rejected by the constructivists only De Stijl is also well represented with retained the line development tucked away in the gallery office,
after it had served them well. Four Domela (poorly reproduced in the through various degrees of amidst information, press cuttings
artists represented in this exhibition catalogue), Van Doesburg, Bart van elimination, cancellation and and the gallery selection of prints.
worked with Malevich at different der Leck, Vordemberge-Gildewart and addition. The process takes place on The deadpan humour reflected his
times at UNOVIS, his Vitebsk art Mondrian, whose American followers the canvas, leaving a web of recent stay in California where the
school. All their works reveal different are also included with good examples evidence of the surface at earlier images for the painting were taken.
responses to Suprematism, even the by Diller, Bolotowsky, Fritz Glarner stages.
drawings of Ivan Klyun and Nikolai Biederman. Finally the most interesting, but
and an intricate relief by Charles
Suetin, who worked closely with The big, beefy, expressionistic unfortunately pretentious, paintings
Malevich ; whilst those of El Lissitzky JOHN MILNER canvases by Richard James shouted were those of Daniel Dahl.
and Gustav Klutsis distinctly reflect out his straightforward enjoyment Pretentious in the sense that the
a constructivist concern for the clear Serpentine Painting 73 at the of paint, pigment and Emil Nolde. intellectual awareness of the work
expression of construction and are Serpentine Gallery, London, 30 June An attitude which is familiar, was superior to the simple craftsman
consequently that much closer to to 22 July possibly commendable but visually demands of severe minimal painting.
architectural projects. Klutsis's work John Hilliard at the Lisson Gallery The 2 by 4 cm wooden frames were
is an amalgam of architectural, 19 June to 7 July too insubstantial to forcefully
sculptural and pictorial elements The slightly apologetic, slightly present a valid development
characteristic of the period. There is puritanical introduction to the comparable to Alan Charlton or
something of this too in Lissitzky's catalogue for Serpentine Painting Peter Joseph. The most interesting
lithographs, although whilst Klutsis is 73, sets the tone for the exhibition, of the paintings were those where
practical and his use of space with phrases such as; 'At a time the inside edge of the frame was
explanatory, Lissitzky's Prouns on the when fashion is on the side of the coloured giving a faint reflection on
other hand employ sophisticated and "newer" arts ... the conviction that to the white wall.
even contradictory depictions of painting is alive and healthy' and '... The use of photography as an art
space, interesting, like early Albers all we can do is to be open to offers form brings into mind fleshy nudes,
drawings, because they cannot be in the face of novelty and polemics'. on further examination there are the
constructed however clearly explicit Dada and Constructivist montages
the drawing. Lissitzky's Prouns are Gallery House is closing, the ICA and then the flood-gates of Pop and
virtuoso works articulating illusionistic appears to be beyond repair, the RCA New Realism. All of which explore
space with amazing adeptness; they Gallery looks toward Bond Street, the camera's ability to represent
have little in common with the leaving the Serpentine as an isolated images. Photographs are the most
constructivists' reappraisal of the hope for young artists. The space is commonly available form of visual
artwork as a constructed object. They the best in London, the budget is information but seldom are either
remain instead amazing paintings and adequate yet the atmosphere is their contents or context seriously
lithographs. The space implied in the predominantly amateur. The use of questioned. The possibilities of
exhibition's gouaches by Exter and the gallery as a space for young Daniel Dahl and Light Blue Square photographic abstraction were
Popova is dynamic in wholely artists is universally supported, but 1973 explored in the 20s and 30s by
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