Page 99 - Studio International - May June 1975

ministers to penniless artists. Most Brussels with an argument for of my own project, I spoke about a 'model' of sufficient use to all
important, I found everyone the vitality of a 'Brussels scene' (and reproduced) work which readers of art-magazines to
extremely scrupulous to not based on outsiders taking space seemed characteristic of the compensate for its appearance of
influence me to praise whatever in Le Bailli: although those exhibitions as well as what I egoism. For to achieve the sort of
they were doing, their particular outsiders had deserted Le Bailli personally liked. Thus, there was `objectivity' LFA purports to
taste in art, or their friends or months before because of a lack only one reproduction of a work support, one must be quite clear
colleagues. Higher praise for of that scene. Pointing this out to by Raveel (Raveel's only about one's 'subjectivity' - and as
officials in a `Kunstpropaganda' Studio, I said they'd look silly presentation in the whole issue, objective as possible about it. That
department, or for 'professionals' printing it as it stood, and which is ludicrous in terms of the Studio allows and encourages this
within an art-world I cannot suggested that they ask Ms. quality of his work and his - while politely protecting those
imagine. And it was, of course, Dobson to re-write it if possible. influence in Belgium), although who do not - is a tribute to the
these people who were my initial Until nothing appeared in the after seeing a whole retrospective honesty, analytic clarity, and
contacts : I had names and magazine about the activities of of Raveel's work in Ghent, I respect for art and humanity (as
addresses in the French and private galleries in Belgium, I would have happily written an distinct from art-world politics)
Flemish sections of the Ministry didn't know that it was not article on him alone. But one must on the part of its editor, Peter
of Culture, of the other possible. But as I was not willing stop someplace, and I was assured Townsend. Without his example
contributors to the magazine, to write about private galleries in that something would be done to in this over the last six years, I
and of my own earlier any case, this did not affect the present 'the realists' in the final would never had had the guts or
acquaintances. My initial scope of my own project. version of the magazine. the curiosity to 'take on' Belgium-
questions were put to people in My attitude was very different, What finally appeared was then or now.
the ministries of culture: where however, when I heard that Ms. `Some Notes on Hyperrealists' by Yours sincerely,
was art-exhibition activity most Mertens had included no van Tieghem and Gheirlandt. Barbara M. Reise
concentrated and who was reproductions with her essay on What should have appeared in
responsible for its administration `constructive' artists and nothing conjunction with this 'article' was
there; and could I visit two art at all on 'younger' artists, and - the editorial information that the P.S. In case my use of the term
schools of very different types - more seriously - that almost all writing presented was an English `take on' causes language problem
one which might be considered hope had been given up of getting translation of texts from disregarding LFA or non-English
`wild' or `crazy' and possibly not anything from van Tieghem about Hyperrealisme published by Isy readers, I should explain that it is a
teaching 'art', the other the most the 'Realists'. I had seen quite a Brachot éditeur, Bruxelles, 1973. slang term meaning `to take upon
established and respectable bit of these artists' work in the If I had been Studio's editor I oneself' either responsibility for,
national school available? There major public exhibitions I had would have gone further than this or a combatative challenge from.
I have used other rather
seemed to be mutual agreement visited (but which I had planned proper crediting of sources and
from French and Flemish officials specialized words and images, but
to discuss only in terms of their stated the reasons why these texts, as these come from the worlds of
on the answers, and it was from cultural structure); I had rather than one specially
that information that I proceeded, photography and cuisine, they
thought it was interesting work, commissioned for the magazine, should give LFA no trouble.
with camera and notebooks, to often excellent, and I had made had been used. It would have been
explore 'how is "art" defined by
many photographs of it for my honest journalism, and it would
Belgians for the Belgians'. have been implicitly informative
own future reference. The thought
Some of this research that these artists - obviously about the concern of Belgians for
necessariIy invoIved people who representing the 'mainstream' of what LFA called the 'Belgian
were also contributing to the recent Belgian art (albeit not artists who don't look for any
special issue, and in our widely represented in public direct succour and inspiration in
discussions it emerged that there collections) - should not be the international fashion, but who
were confusion about the presented in the magazine at all build up their own art according
commissions from the editorial was, to me, appalling. Appalling to their own ideas'.
staff in London. Particularly partly because it would For the fact is that it was the
about when the contributions certainly distort the magazine's Belgians who did not care enough
should be in London, who was representation of Belgian art, about the presentation of this art
in charge of co-ordinating group and partly because the character to Studio's international
decisions and writings, and of the distortion (ignoring readership to assure its status as
whether or not the editor was `middle-generation' artists in the 'major' work. It was van
arriving imminently to solve all favour of young avant-gardies) is Tieghem who was responsible for
problems. The confusion seemed one which I generally abhor in the absence of the 'major' article
to me to be partly the result of a art-world publications. For such on the 'Realists'. But I would
curious similarity between distortions create a publicity extend the responsibility of this
Studio's editor and the Belgians (publication) basis for band- failure to the other Belgian
concerned: both sides seemed to wagons of 'the next wave' of style contributors and government
prefer (and trust) spoken rather categorizations, implicitly officials who knew of his Correspondence
than written communications (the devaluing (by ignoring) more avoidance of this commission and
Belgians seemed particularly quiet, serious, individualistic work communication about it - and
adept at losing or not receiving which is less amenable to such did not clarify the situation or Edward Lear
letters) and both sides' commodity manipulations: the offer alternative proposals to We have been commissioned
communication seemed cart before the horse, galloping Studio's editorial staff. And even by the Oxford University Press
unusually polite, politically adept, in a spiral away from art and into to LFA itself. For I notice that to edit a new collection of
and vague. And it was summer, cultural advertising. There are they advertise their Edward Lear's nonsense, and we
everyone was thinking of holidays many art-magazines which representation of a number of would like to appeal for any Lear
(or taking them), so generally specialize in doing just those 'classic' and material that your readers may
communications were difficult this, and amongst serious individualistically Belgian artists have.
anyway. magazines attempting to in the special issue in question. If Yours faithfully,
But on my return to London maintain a balanced and aesthetic they, like Isy Brachot, had Vivien Noakes
CharIes Lewsen
(after the `deadline' of the early viewpoint, Studio has been published a book on their artists 146 Hamilton Terrace,
commissions) it was obvious that unusually vulnerable to this with texts of a critical level LFA St. John's Wood, London
almost anything (or nothing) penchant. In this particular case, I supposedly respects, perhaps NW8 9UX Tel: 01-328 6754
might come in from that originally felt that allowing such a distortion those texts would have been used
`clear' context. So I asked to see would be disastrous. So I offered as stopgap material. In any case, Denny and St Ives
what did arrive before I began to to expand my own project to criticism, like charity, begins at I have just seen the text of
actually write my own piece. For 1 include a pictorial survey of home - or ought to do so. Robyn Denny's William
had far more information than I Belgian art which I saw (and And that is finally the reason Townsend Memorial Lecture,
could use in my own project, and often photographed) in those for the length, character, and `Art and the State and the State
I was willing to shift some of my exhibitions. Simply to ensure that, focus of this letter. For by now it of Art', Studio International,
own perspectives to compensate whatever else happened, some should be obvious that I am January/February 1975.
for other losses in the magazine presentation of this work would arrogant in writing this. I only I think it's about time that
to maintain the 'whole' ; and I was appear. hope that the informational, Denny and his generation stopped
unwilling to duplicate Thus my articIe became much analytical, and criticaI picture of a perpetuating, parrot-like, all
information which otherwise longer than planned, and I found particular experience of those vicious and unfounded
might arrive. I was shown Ms. myself talking about Belgian art `criticism' within a particular views first put about by
Dobson's piece on Belgian which I had not wanted to do. To experience of magazine-editing Lawrence Alloway - their chief
galleries, which dealt only with maintain the tone and parameters which this presents stands as mentor and leader - in his rather
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