Page 20 - Studio International - September 1974
P. 20
CORRESPONDENCE
composition. The mechanical form copied a
number of times does not in a sense exist as a
form which 'is used for something'; it becomes
useless. You may show it either in an
emptiness, in an indefinite position or in the
most simple row. That was the important thing.
WB: The next series of your paintings consisted
of reliefs made of metal, of aluminium sheets, Tate and bile Oxford. It was a reconstruction from
polished copper, and then the colour tests, when I am glad David Hall wrote in reply to my piece photographs of an exhibition of that name held
you achieved colour by galvanizing the metal or in May's Studio International, but sorry that he in Moscow in May 1921. Having discovered
painting its surface. And in the years since 1967 did not see fit to reinforce my central argument only one passing mention of the show (Observer,
you started painting colour paintings. concerning the thoroughly unsatisfactory role 2 June) I find it disappointing that neither the
HS: Yes, I was looking for possibilities to the Tate plays in relation to film art in general, Museum of Modern Art or the Department of
achieve a 'stronger' surface but working in and new British work in particular. Within the Fine Art at Newcastle University (where these
metal was technically difficult. So I returned to context of British work I see Hall's work and my reconstructions were made) have received the
painting. At the same time I became more own as only a part, neither of us warranting praise or the recognition they deserve for such a
interested in the problem of colour. I was special selection from the many artists currently valuable and commendable exhibition.
studying the nature and principles ruling colour working here in film. Remember the significant The 15 exhibits covered the period from
and was trying to show them in my paintings role which the Museum of Modern Art, New 1919-22 and represented the following five
and reliefs, consisting most often of 16 squares York, has played in establishing awareness of artists : G. Klutis, G. Stenberg, K.
placed in four rows. The colours in the squares' and status for the American film-makers. Mendunestsky, V. loganson and A. Rodchenko,
fields were placed in horizontal and vertical Compare their regular programming with the the teacher and most widely known member of
stages and the setting of colours resulted from paltry contribution of the Tate. I am impatient; the group. Their work was both highly
the numerical measure. The colour penetration I do not think three programmes over a year individual and radically exploratory, being
between neighbouring squares was gradual, ago, and the David Hall week of shows in May concerned with the principles of construction
based on a minimal difference of colour. Thus I constitute any kind of a breakthrough — they are and the original definition of what largely
was aiming at annihilation of colour contrasts no more than a token based on the sympathy of remains the language of contemporary
and the hierarchy and function of colour one man, Terry Meesham, in the Education constructed sculpture. The exhibits were
accepted in painting. I was showing only the Department, with whom I have no quarrel. As accompanied by a slide programme designed to
appearance and nature of colour in identical for the 'film-maker film', 'artist film' categories — relate the sculpture to the broader developments
squares arranged in equal space. Besides, there I did not invent this nonsense, it exists as a of Constructivism in Russia.
is nothing more in those paintings. political aspect of our situation. I have done my A highly informative and unique exhibition
WB: Your last paintings are more varied. best to show it for what it is, an anachronism, in resulted which, like the Annely Juda Gallery
Again you avoid colour and come to linear many of the things which I have written. I do shows of pioneer European abstract art, proves
black and white paintings, or white not have a down on those people making film invaluable to the understanding of the origins
compositions having variously factured surfaces. from the so-called artists' faction, I have often and development of non-figurative art, and as
HS: At present I'm trying to employ various praised work by Serra, Morris, Oppenheim, such should receive encouragement rather than
experiences. I'm working on the basis of Graham, Dye, McCall, Wellsby and others neglect.
systems and strict principles but am not (including a video piece by David Hall which I DAVID WARD
treating art doctrinally. At present I am found particularly stimulating). I am likewise London W2
employing lines which I lead mechanically at critical of many works produced in the so-called
equal distances or in linear, industrial patterns film-makers' faction, though in general I gave Numbers game
from a screen; and in white paintings I'm also up using my column for attacking specific works Thank you for sending us the proof copy of the
employing a variety of smooth surfaces with within the first couple of months, as being review of our recent book. (See 'Numbers game',
some mechanically vexed ones. But the trifle, inappropriate. Now I tend only to review work I Studio International, July/August 1974, p. 6o.)
trivial reasons I find within the environment are like, saving my attacks for what I consider to be Needless to say we would like to answer in full
often my inspiration. issues of general significance, like that of the but there are a number of factual inaccuracies in
WB: In 1930 you said that 'a new man is able Tate. As for my view of David Hall's own films, the review, namely:
to see the world devoid of objects'. Do you see I do not react to them particularly well, but (1) The book was never based on an
any confirmation of that idea in present-day art? would not dream of making any kind of critical exhibition, in fact an exhibition was based upon
HS: You have proofs of it everywhere. The attack in this context because they are so clearly the book, namely 'Islamathematica' which was
degree of abstraction in grasping the world has within the direction of cinema I generally first shown at the Museum Voor Land-en
grown enormously since then. The world is full endorse and I am also aware that my lack of Volkenkunde in Rotterdam in November, 1973
of objects but we are able to think about it reaction could be no more than a question of (shortly to tour the USA). There is little, or no,
without taking them in our hands. And taste. As Hall, like me, is in a position to have relationship between the book and the exhibition
tendencies to eliminate a work of art in a his views listened to, I hope he will use some at the ICA in November, 1971 (not ICS).
physical, museal sense dominate art today. of his energies to assist the whole of the (2) Only an architect on such slim evidence
WB: You produce paintings which have physical genuinely experimental film-making situation could assume that the book's main argument
qualities and museal value. which exists in London. related to architecture. The buildings quoted in
HS: That is my way. I couldn't possibly give up MALCOLM LE GRICE the review were purpose-built and still exist.
painting. But one must remember the ethics Harrow, Middlesex We sympathize with the evident difficulty
connected with this question. The compromise that Mr Theo Crosby had in understanding the
must be minimal, if there is no way out; and it `Obmokhu 1921' book, or indeed reading 'the impenetrable text',
certainly must be a burden. Anyway, I treat my I have been surprised at how poorly advertised and will answer him in greater detail later.
paintings as boards explaining my ideas on a and sparsely reviewed was the exhibition of KEITH ALBARN, HAZEL ALBARN, JENNY MAILL
contemplation.
work of art and not as fetishes meant for Russian constructivist sculpture 'Obmokhu SMITH, STANFORD STEELE, RACHEL FRASER STEELE,
q 1921' shown at the Museum of Modern Art, DINAH WALKER London Eli
74