Page 100 - Studio International - November December 1975

committees to set standards — an approach justified by ¾ ¾ satisfactory relation between the surface and its
few works of real quality and daring, which more than perimeter. This problem has dogged Olitski and Ian
compensated for the inevitable dross. The responsibility Stephenson among others. Peter Russell's solution to this
for the work and its presentation lay entirely with the problem appears as effortless as it is effective. This is not
artist — ¾ challenge some seemed completely unable to only ¾ personal triumph, it may also prove to be ¾
handle. For many it seemed ¾ soft option to show when it significant contribution in the development of all-over
was clearly against their best interests to do so. Many of painting. To measure their importance accurately it would
the younger artists seemed particularly misguided in this be necessary to see them hung in gallery conditions. The
respect. It is just possible that graduating from an art- question of display is especially crucial with these
school to ¾ Space studio could ward off those doubts that paintings, which are positively decorative. Paintings have
are essential for the birth of an artist and the death of ¾ been hung to contrast the character of the individual
student. It was apparent here and there that work was not paintings. A near-white canvas may be adjacent to ¾ near-
art, neither was it Bayswater Road-type kitsch ; it sat black one, articulating the wall without jeopardizing the
unhappily between the two. Again no criticism of Space autonomy of each painting. This set of work is the most
is intended. An artist must be his own harshest critic to potent and challenging by any of the unknown artists. A
guard against the dangers of ¾ communal working patient contemplation is richly rewarded.
situation. The sculpture of Colin Nicholas (Wapping) consists of
Standards varied considerably from studio to studio. three blockboard constructions, plus ¾ series of line
The Greenwich studio seemed like an art club for drawings which amount to ¾ parallel related activity
dilettantes compared to the generally high standard of since they neither act as blueprints for future 3D work, nor
work produced by some artists elsewhere, including at illustrate existing sculpture. They have been conceived
Stepney, ¾ vast new canvas by Albert Irvin. This must and executed purely as line and are valid in their own
rank as one of his most compelling paintings to date, and right. To place such emphasis on drawing when many
it is good to see established and respected artists like senior abstract sculptors have ditched drawing altogether,
Irvin participating in the openings. regarding drawing for sculpture as irrelevant, is in itself ¾
But the main achievement of the event was to provide courageous decision for ¾ young sculptor acutely aware
¾ forum for the really committed new artists, at least four of the weight of recent art-history. Perhaps because the
of whom were prepared to make uncompromising sculpture is conceptually rooted, the drawings
statements. This work demands and deserves serious complement it without being merely supportive. The
consideration. sculpture consists of stark, rectangular planes of ½-inch
Andy Whammond (Ravenscroft Studio) presented four blockboard joined at right angles with recessed screws in
large canvases executed over ¾ three-year period, one of pedestrian fashion. There are no concessions to finish,
which was unfinished. Excessively worked and the surfaces are untreated ; neither is there room for
impastoed surfaces smacked unmistakably of the playfulness or lyricism. Materials and methods have been
Birmingham school of painting, as did the unwillingness carefully selected and there is no need to embellish. A
to fix the shapes into ¾ forceful organization in ¾ vaguely base or ground plane is ¾ neat solution to define the
held belief that energy and sweat may substitute for occupied floor space, while denying architectural
decisive action. However, there is ¾ lot to be said for his associations. Standing four feet high, they are
frank assimilation of his influences, notably fifties New appreciably below eye-level, so interior/exterior
York painting through John Walker. It requires courage to interplays can be perceived continuously while
openly borrow from ¾ respected artist in the way that examining each facet. Thus ¾ continuum is achieved and
Whammond borrows from Walker, particularly in the small the spectator is encouraged to walk round the sculpture.
chalk-dusted drawings. He risks accusations of rip-off Space is as inseparable from sculpture as colour is from
here. One recent colour drawing could not be so painting, and consequently sculpture can redefine its
accused : it stands high above the rest of his work. spatial articulation without overt exploitation of this
Whereas most of the work here is ¾ dutiful homage to his property. It is the hard-won knowledge of his medium
heroes, the colour drawing is ¾ joyful celebration —fresh that allows Nicholas to make ¾ provocative statement
and buoyant, qualities distinctly lacking in so much capable of seriously challenging some of the prevailing
seventies English painterly abstraction. It is indeed St. Martin's school dogmas.
encouraging that ¾ young artist can find viable To coincide with the studio shows, ¾ directory of
possibilities working in this generally infertile area. artists is available from Space, Burlington House,
James Faure Walker (Hackney) had two paintings that Piccadilly, at £2.50, containing information on all the
stood above the general level of competence attained in artists.
his set of work. They were uncompromisingly direct
canvases, using black, white and grey, each with two
squares painted symmetrically on ¾ rectangular ground.
Tone everywhere here takes precedence over colour.
Colour when toned down takes on an unfortunate Artists Over Land
secondary role to decorate and fill in the design. This is
why, at worst, Robyn Denny's design-slanted colour
Arnolfini Gallery, Bristol,
relations come to mind. Eschewing colour enables 26 August — 20 September
Walker to deal with tone more precisely. Bald though
these two tonal paintings are, they achieve ¾ presence
where even the mundane paint handling becomes gritty Reviewed by William Packer
and engaging. They measure up to the artist's stated
ambition to create ¾ painting that will face back. The Arnolfini Gallery has just moved from its old place, at
Peter Russell (Somers Town Depot) has also the head of the dock nearest to the centre of Bristol, to ¾
ruthlessly defined the parameters of his art. A feature of newly and splendidly converted warehouse at the far end
the best of the emerging artists' work is that it tends to of the wharf opposite, ¾ beautiful and exciting maritime
embrace fundamentalism, not through dogma or situation. The move has been an immense and over-
following ¾ trend but through rigorous development of ¾ riding preoccupation for ¾ long time, and, now that it is
form. Peter Russell's canvases are generally expansive accomplished, Narrow Quay should see the Arnolfini
one-colour paintings with just enough surface incident to becoming even more of ¾ power in the land.
hold the tension without interrupting the flow of colour. Exhibitions continued to be held at W Shed to the end,
The paintings are truly overall. The incidents do not act as perhaps rather low in key, but engaged and interesting
punctuation marks or focal points and are used nonetheless, going out if not with ¾ bang then certainly
economically. They are not contrived features, but have not with ¾ whimper. The last show of all, Artists Over
occurred in the process of making the picture, sometimes Land, brought together four artists, two of them already
being discreet drips and usually proliferating towards the well established, each of whom works directly from and
outer limits of the picture. Thus they serve ¾ dual purpose, with the landscape, ¾ physical involvement. Their activity
to hold the colour to an insistent surface and to establish is of ¾ kind that precipitates documentation rather than
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