Page 14 - Studio International - July August 1974

FOREWORD BIBLIOGRAPHY

This present issue of Studio International has a am bleakly aware that the ideological drift away This bibliography is necessarily a highly
double aim: to express the continuing vitality of from the issue of aesthetic value is on the selective one. The general section emphasizes
abstract painting, and to do so within the increase. I find myself unable to accept the modernist criticism and is condensed from the
context of American art since the beginning of promiscuous catholicism that this brings, and listings in the catalogue The Great Decade of
the sixties. To that end, I have drawn together although, as I have said, this issue is no editorial American Abstraction, Modernist Art 196o to
younger American and British writers on art (a pantheon of a selected few artists (or writers on 197o (The Museum of Fine Arts, Houston,
majority of whom are also painters), and have art) it speaks implicitly not only of a 1974). Entries on the eighteen painters which
asked selected American artists to make commitment to painting but of a rejection of a follow are similarly biased, but include major
statements about their work. Its starting point very great deal of current art, and the writing monographs and writings of differing
is the work of Morris Louis (with whose that surrounds it, as well. persuasions as well.
retrospective exhibition at the Hayward Gallery, In the past, Studio International has
London, it has been designed to coincide). It is embraced other points of view with equal
not, however, a historical coverage of what has enthusiasm, and will no doubt do so in the
happened since Louis (although a future. The views expressed here (and in my
General
comprehensive survey of the period is subsequent introduction) are this present BANNARD, WALTER DARBY. 'Notes on American
included); neither is it a compilation of what the editor's alone (as those which follow are of Painting of the 6os,' Artforum 8 (January 1970),
editor finds best or most interesting in recent course their authors' alone), and are the result PP 40-45.
— 'Touch and Scale: Cubism, Pollock, Newman
painting. It is intended, rather, as a grouping of his response to that fraction of current and Still,' Artforum 11 (October 1972), pp 64-67.
of informed personal viewpoints, looking back painting on which seems to depend, in differing BUCK, ROBERT T., JR. The Development of Modernist
upon a major period of modernism and at the ways, its continuing existence as a high art. The Painting : Jackson Pollock to the present. Steinberg Art
Gallery, Washington University, St. Louis, 1969.
present of painting as well. great bulk of that fraction has been produced in CARMEAN, E. A., JR. Toward Color and Field. The
Perhaps the most familiar view of the sixties America. This issue acknowledges that fact and Museum of Fine Arts, Houston, Texas, 1971.
The Great Decade of American Abstraction.
is as a decade of literalist or minimalist art. The celebrates its achievement.
Modernist Art 1960 to 197o. The Museum of Fine
most frequent coverage of seventies painting has JOHN ELDERFIELD
Arts, Houston, Texas, 1 974.
been in terms of its painterliness. Although, CAVELL, STANLEY. Must We Mean What We Say ?
inevitably, both of these issues are present here, New York, 1969.
— The World Viewed. New York, 1971.
they have been deliberately played down; not COLT, PRISCILLA. Color and Field 1890-1970. The
because I find them wrong or irrelevant, but Albright-Knox Art Gallery, Buffalo, N.Y., 197o.
because they have perhaps been overexposed. ELDERFIELD, JOHN. 'Mondrian, Newman, Noland:
Two Notes on Changes of Style,' Artforum 10
This is to risk, of course, a partial or lopsided (December 1971), PP 48-53.
view of the period under discussion, and yet
`Painterliness Redefined: Jules Olitski and
what has emerged has been a keener focus on Recent Abstract Art,' Art International 16 (December
1972), pp 22-26; ibid 17 (April 1973), PP 36- 41,
two other aspects of recent painting at least as FRIED, MICHAEL. 'Art and Objecthood,' Artforum 10
important, namely the emphasis upon colour (Summer 1967), pp 12-13.
and the function of drawing within a colouristic Three American Painters. Fogg Art Museum,
Harvard University, Cambridge, Mass., 1965.
art. There are, in addition, other and sometimes GELDZAHLER, HENRY. New York Painting and
opposite issues raised here, some specific to Sculpture 1940-1970. The Metropolitan Museum of
certain localities within America. It would be Art, New York, 1969.
GREENBERG, CLEMENT. 'After Abstract Expressionism,'
inappropriate to rehearse them all. Suffice to say Art International 6 (October 1962), pp 24-32.
that the contributors to this issue find the — Art and Culture: Critical Essays. Boston, 1961.
potential of recent painting a rich and various — 'Counter Avant-Garde,' Art International 15
(May 1971), pp 16-19.
one, open to a multiplicity of personal — 'Modernist Painting,' in The New Art, ed.,
interpretations. I cannot, of course, speak for Gregory Battock, New York, 1966, pp 100-110.
these contributors, nor do I necessarily find Post Painterly Abstraction. Los Angeles County
Museum of Art, Los Angeles, 1964.
myself in agreement with everything they say. It KRAUSS, ROSALIND. 'On Frontality,' Artforum 6
should be evident from the sum total of what is (May 1968), pp 40 - 46.
included here that if there are recurring themes MOFFETT, KENWORTH. Abstract Painting in the 70s.
Museum of Fine Arts, Boston, 1972.
there are also disagreements — and yet, I ROSE, BARBARA. 'The Primacy of Color,' Art
presume to say, from within a total commitment International 8 (May 1964), pp 22-26.
to painting itself and to its values. — 'Abstract Illusionism,' Artforum 6 (October
1967), PP 33-37.
This, I am forced to acknowledge, is an RUBIN, WILLIAM S. 'Jackson Pollock and the Modern
exceptional position. Painting continues to be Tradition,' Artforum 5 (February-May 1967).
attacked as spent in the same way as modernism
Walter Darby Bannard
itself is attacked as being in decline: by BOURDON, DAVID. 'Darby Bannard: The Potentials of
questioning its capacity to exist as a fictive Color,' Art International II (May 1967), pp 37-39.
whole. It is interesting to note that this has CHAMPA, KERMIT S. 'The Recent Works of Darby
Barnard,' Artforum 7 (October 1968), pp 62-66.
brought with it an uncertainty — and indeed CONE, JANE HARRISON. 'New York: Darby Bannard,'
embarrassment — about issues of quality. Art is Artforum 6 (March 1968), p 55.
becoming treated as a phenomenon of society - Walter Darby Bannard, Baltimore Museum of
Art, Baltimore, 1973.
rather than as a value in it : and as I write this I FENTON, TERRY. 'New York: Exhibition at Tibor de
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