Page 98 - Studio International - May June 1975

asked what else would be in the styles that public modern
issue. The detailed reply was `foreign' collections in London
basically a run-down of what are dominated by the School of
finally appeared in the magazine, Paris, in Cologne by post-war
with some notable exceptions. American art; nor that the most
These exceptions were international provenances I have
commissions for 'notes on seen are in New York City and
Belgian galleries' by Rona Basle.) And focusing on these
Dobson; a 'pictorial directory' of international relationships seemed
young artists by Phel Mertens; to me to fit the characterization of
and a long new article on my commission, my real character
`Realists and Hyper-realists' by and the readership of Studio. So
Jean-Pierre van Tieghem. The I'd broadly decided to focus on
allotted space in the issue was what people do about art in
to be dominated by van Tieghem's Belgium (hence the interest in art/
presentation of artists like design education, finance systems
Raveel, de Keyser, Elias, and of public exhibitions, patterns of
Duchateau (on the one hand) and social celebrations) - with fine
the various presentations of focusing on international things
`young' and/or 'avant-garde' (parties, pieces, choices) within
artists presented by Baudson, the constant frame of an
Gervaert, and Mertens; my piece international context for it all.
was to be as editorially And I tried to make the point of
subordinate (in terms of space) as view from which I was focusing
those on architecture and the something like that of the
historical `background' of Belgian people - as opposed to an
Expressionism and Surrealism. It `élite' of art-world professionals
sounded reasonable to me; the or art-collectors: hence the
art seemed welI-covered by the attention to public finance,
critics who, by historical proximity exhibition, collection,
and involvement, should provide education. I did this partly
the best informed judgement. because the magazine-context was
When I was reassured that I determinedly nationalistic (and I
would not be held responsible to was being partly government-
write directly about Belgian art subsidized); partly because I am a
(for I felt that to juxtapose any bourgeoise-worker and respect
Jacques Charlier, 'Je sais difficilement cacher mes origins . . . . (From a series) quick-trip `take' against my peers (including serious
necessarily better informed scientists, civil servants,
more clear for other (and Belgian) preferred me to have titled it judgements would be carpenters, gardeners to my
readers. "'Incredible" Belgium: Facts' but extraordinarily arrogant - and knowledge) who are generally
LFA's particular reference to my own complaints about that though I am arrogant it is not in disregarded in art-criticism as
me was the following: 'Barbara would have been violent. terms of such nationalistic anything other than unenlightened
Reise's excessive disregard of the However the complaints of LFA competitions), I agreed to go. For if not stupid (another challenge to
reader is obvious, while she begins are possibly based more on my I felt that it would be an me as a writer, of 'art-criticism');
the major article with the heading article being `the major article'; interesting project to try to and partly because I am
"Impressions".' Which must be if this is so, I would heartily agree describe/analyze/criticize (not professional enough to
one of the most obtuse though - for I did not want to write (or necessarily negatively) the understand the special political-
ominous-sounding sentences of illustrate) a piece of such length, structure of an art-world culture economic implications within
`criticism' I have ever read. I did not want to appear in such as if it were an art-thing (art- Belgium and its art-world which
Who was `the reader' which LFA `high profile', nor was that the work?) using my own approach my writing could have (an
thought I was disregarding? And original editorial concept, as an 'art critic'. And two weeks influence given partly by the
how does that relate to LFA's commission, or agreement. The seemed a reasonable time to look context of the commission to do
seeming objection to the word fact that it ended up being at, research, explore such 'a work'. it), and I was determined that my
`impressions' in the title of my `major' in size is something for That notion of the project was writing was not to be used as an
article ? At first I was truly which we must thank (or slowly personal in the sense that it automatic support for whatever
confused. Then I realized that the strangle) various contributors tickled my imagination as established art-world hierarchy
only 'factual' answer I could give from Belgium who simply did not something original and or governmental system which
was that, because this kind of contribute what they had challenging to make 'within' the might exist.
non-communication did arise, it promised. activity of 'art criticism', and All these 'reasons' could be
is obvious that my notion of 'the At this point some history is in without such challenges I just interpreted as a protection of my
reader' was neither LFA's nor order, I think. don't move. But it was also integrity as a critic. That
LFA itself. And this is not only When I was first approached by `objective' in the sense that it was interpretation would be as true as
true in particular (for in my the editor of Studio International connected with what I knew about one associating my stance with
ignorance of LFA's existence to 'do a general piece on the the commission, the contents of the message on a famous
when I was writing, I naturally Belgian scene', I was not a the other contributions, and the tombstone near my home (and
disregarded it), but also in specialist (as some critics are) in character of the magazine in nearer that of Studio's editor), a
general: for the abstract 'reader' writing advertising-copy for general (its scope of distribution, message which reads: `The
for whom I write is not someone governments, galleries or artists history, readership). For instance: philosophers have only interpreted
who likes the sort of generalized in exchange for paid-trips or Belgian art and art-world things the world in various ways. The
attacks with verbal imprecision under-the table money. I was also (as static entities, ingredients) point however is to change it.'
made by LFA. This might relate not passionately interested in, or seemed to be well covered: but I doubt if anyone in Belgium
to LFA's problem with my use of knowledgeable about, `Belgian' not the dynamics of the people, knew what sort of 'foreign
the term `Impressions' in my (as opposed to any other) art. So choices, activities, finances within critic' they were getting. During
title: for LFA has obviously I was wary when I was told that and around those things - which my two one-week trips to
disregarded the fact that, as it was the Belgians contributing to this are of importance to 'the scene' Belgium in June it was obvious
my article, the impressions issue felt strongly that 'a foreign in the way that shopping, mixing, that even my clothes were a
referred to were mine (as critic' should make a trip cooking are important to noteworthy surprise (levis, Aussi
embodied in that article) rather (subsidized by the government) recipes-of-ingredients in military hat, yellow Swedish
than those of a European writer and write his or her impressions `cuisine'. And since all countries clogs) - to say nothing of my
of traditional misty belles-lettres of what they saw. Being a Cynical support the local lads in their uninhibitedly atrocious French
literature which goes by that Old Lady, I immediately asked notion of what is 'art', the and my ritually American
name. I consciously used the term `What for? Foreign acclaim for subtleties of a special informal manners. But I was
to underline the personal nature the local lads? An international (nationalistic) taste of `art' is treated with consummate
of my articIe (which is also why rating of the top ten in the better distinguishable in people's politeness, given information and
I began with an account of the Belgian Pops ?"Not necessarily', particular treatment, introductions and interviews with
subjective mental/social filtre I I was told, `you would be free to information, or ignorance of an a carte blanche - as well as a
had before visiting Belgium). write whatever you want'. Hmmn, international scene and history. refreshing ease of hospitality - by
Perhaps LFA would have I thought for a minute, then (It's not irrelevant to the 'local' everyone I met from government

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