The Province from Vancouver, British Columbia, Canada • 47

ARCHITECTURE ART a bigger, better sequel to Los Angeles Six and another triumph for the Art Gallery by JOAN LOWNDES by ROY STARRS The Vancouver Art Gallery is closing from January 9 to 21 inclusive to permit installation of New York 13, a bigger and better sequel to Los Angeles 6. The exhibition, which will travel to Regina and Montreal, promises to be another triumph for the Art Gallery. It brings together work by 13 of the most significant American artists of the last decade and a half: Jasper Johns, Don Judd, Ellsworth Kelly, Roy Lichtenstein, Robert Morris. Barnett Newman at 64 the oldest artist included Ken Noland, Claes Oldenburg, Robert Rauschen-berg, James Rosenquist, George Segal, Frank Stella and Andy Warhol. These superstars have set such trends in the new art as pop, hard edge, pure color painlinjz, exploration of new materials and idea art.

Their impact will be fantastic, perhaps disconcertingly so. In many cases we have never seen their work here, in others only through the media of prints or drawings. Art-followers, granted, are familiar with what is being produced through reproductions or flying trips to New York, but as exhibition co-ordinator Doris Shadbolt puts it: "an artistic confrontation on home territory has a special value for which there is no substitute." What is truly amazing and to use Queen Victoria's word, gratifying is that these 13 artists of international repute whose work is in constant demand, should have agreed to release recent paintings and sculptures to Vancouver. Doris Shadbolt reports that at least half of the artists expressed to her warm feeling Tor Canada which made her bor-npwing task easier. However not only are all the works in New York 13 recent, a considerable number have not been shown publicly before and iILstiiii i irijll HENRY GELDZAIILEK as a final coup he has born obtained to open the exhibition.

EXECUTION in a darkened gallery with illumination directed onto the haunting, mummified white plaster figures of Segal. CHESS sider, however, will be the "gutsiest" piece in the show is Segal's Execution (illustrated). It will be placed along with two other works Dry Cleaning Store and Woman in Red Wicker Chair in the darkened south Gallery, with illumination directed onto the haunting, mummified white plaster figures. They are cast from friends or family who mime a situation which Segal has conceived. They must be capable, however, of understanding it and reacting to it with sensitivity.

Segal says: "A person's inner set of attitudes come out in the plaster somehow. Why 1 don't know, but it simply happens to be true." The amateur models must also be able to hold their pose for the 20 minutes it takes for the plaster-soaked bandages in which they are wrapped to dry. Although Segal's technique is no secret the poignancy of his figures is: their strange unreality is only heightened by the meticulous realism of the props with which he surrounds them. Segal is an isolated artist who, in traditional fashion, strikes primarily at our feeling rather than our intellect. He points up the fact that there is no New York "school," since he is in strong contrast to the cere-bralism of, say Judd as cold as the cold-rolled steel which he sometimes uses for his pieces or the austerity of Barnett Newman or, on the other hand, the epic satire of Lichenstein.

The only bonds between the 13 are their nervy rejection of accepted values, the intensity of their involvement and their talent. The catalogue for the exhibition has been prepared by Lucy R. Lippard, the highly regarded critic who visited Vancouver at the time of Los Angeles 6. The format she has devised is, to my knowledge, unique as spare and tough as minimal art itself. Instead of embarking upon a long personal essay, she compiles an anthology of quotations about each artist's work culled from various critics (not excluding herself) and from interviews with the artist.

Sometimes conflicting, they serve as whetstones for each individual's perception. Most of the quotations are drawn not from books but from art magazines, emphasizing the voluminous output of art criticism in this period and its scho-larliness. The research of Lucy R. Lippard is in itself impressive: her catalogue will be a valued docu-. ment in the libraries of art gal-, leries and in critic's files.

As a final coup the Vancouver Art Gallery, has invited no less a personage than. Henry. (Jeld-zahler. Curator, of Contempo-' rary Arts for the Metropolitan Museum in New Yprk, to open the exhibition; on January 81. He will remain here long enough -fal jive some lectures, at dates to have lost to 22 BxNch, KxB; 23 Q-B4ch, with an evident triumph for White in all variations because White would always open the king bishop file if needed, by the opportune PxP.

Resignation was understandable in view of White's threat, BxN, ch, etc. several were expecially made for this occasion. For example, Rosenquist has designed an Aurora Borealis to fit the centre court of the west side of the Gallery. Constructed from plastic, neon, mylar and aluminum foil, it will be suspended from the unblocked skylight, bathing viewers in a shower of light. Rosenquist will come here personally to supervise its installation.

Claes Oldenburg has also had a hard saw 15 feet long made in the city to his specifications, as a counterpoint to his soft ver- sion of the same object in blue and yellow Swedish flag cloth. Although Oldenburg's name is synonymous with floppy scriptures, excerpts from his notebook quoted in the catalogue help to understand the genesis of the saw-flag. In 1966 he was visiting Stockholm, where he was born, for a show at the Moderna Museet. He went to see a cousin of his father who owned an island outside the city. After spending a pleasant Sunday together and just after sundown, the cousin suddenly rose, exclaiming: "I've forgotten to pull down the flag." On the last two Saturdays of December, several hundred young people were intimately exposed to the world of architecture, and as a result it is unlikely they will ever view their environment with the same eyes again.

Staged in the Playhouse by a group of four architects, the show, called "an adventure in architecture," was a sort of environmental baptism whose method was total immersion: by way of slides, sketches, tapes and talks. If a single message emerged from all these media it was that the young people themselves were the architects of the future. Not that every one of them would take up architecture as a profession but, nevertheless, every one of them would have to take it up as a vital interest in their daily lives. In order to play their part in shaping the cities of the future, they would have to become preoccupied with the problems and visions of architecture. As architect Roger Kemble told them: "Architecture is a folk art.

It is made by the people." And Fred Hollingsworth said simply: "Look at these slides and decide what you want." The slides and movies were designed to provoke serious questionings in the minds of the young people as to the realities and the aspirations of architecture, past, present and future. The first film, accompanied by the amusing comments of Abe Rogatnick, traced the history of architecture from ancient Egypt to the present day in the space of 14 minutes. Rogatnick criticized the film for being, like most other histories of architecture, merely a history of architectural monuments: pyramids, temples, triumphal arches and so forth. The greater part of the architecture of any city, however, is composed of such mundaneness as the working-class house, the street corner and the clothesline. In recent years, he said, the archeolo-gists have thrown light on this less spectacular aspect of architectural history by excavating, for instance, some Roman tenements.

Rogatnick also discussed the notion of an "ideal city," very popular in the Renaissance period. Architects, he said, "go ape over Mediterranean hill towns." He pointed out that such towns can be oppressive to their inhabitants because no erratic styles of architecture are allowed. "What if I wanted to build a hexagonal psychedelic tower with purple windows?" he postulated. The second film had a more contemporary and a more immediate focus. Entitled "To Build a Better City," it depicted a slum-clearance project which began in Vancouver several years ago.

Before the project got under way, there had been a survey conducted of the "blight" areas, in the course of which it was discovered that the standard of living there was significantly lower than, in other areas, Because of the damp walls of most of the houses the incidence of TB was thjree to four, times higher tber than elsewhere. The fate of crimV and unemployment was also of alarming proportions. As a result of these findings, a scheme was developed whereby new housing, apartment-style, would be constructed block by block in the "blight" area. As soon as one block of slum housing was demolished, a new block of modern apartments would be constructed on the same site. After these disturbing and eye-opening films, young people in the audience were immediately given an opportunity to put what they had learned into practice.

On an eaormous drawing board almost as long as the stage was wide, architect Stanley King began to trace the outline of a city from its earliest stages. First of all, it was merely a cluster of small houses along a waterfront. But. as more people began to arrive, these houses were transformed into hotels, restaurants, shops, apartment blocks and so on. King's drawing provided a clear dem- onstration of the dynamics and logistics of a burgeoning city.

By the time the city had reached its modern stage of congestion, however, he called on the young people to help hira design its future as they would like to see it. On both Saturdays, about a score of people responded, and set about sketching a future which was very fanciful indeed, full of geodesic domes, mushroom-shaped apartment blocks, monorails and immense playgrounds. By the questions and comments of the youngsters, and the animated dialogue which ensued, it was evident that their interest and concern had been greatly aroused. One girl, for instance, suggested that" the factories of this future city should be built underground. Another questioned hether the city-structure will be necessary at all, in an age when almost all human functions will be performed by computers.

King lent direction to the discussion by hinting at some of the urban developments already "under way. He pointed out, for instance, that it would be quite possible now to build underground homes which still admit much sunlight, by the use of plastic domes. The major theme of his commentary, however, was that some sort of mass transit system will be essential in the future city. Presently, such a system could make possible the movement f-people to within a hundred miles of city in half an hour. New towns could then be developed anywhere in this thus relieving the problem of congestion in the central city.

He described this new urban complex as a "plug-in city." Architect Fred Hollingsworth con-' eluded the show by telling the young- sters that architecture is basically "a place where you'd like to be." He confessed that he liked most to be in a which after all, made by the Xirst of alL architects. He expressed the hope that their bad been stimulated by the showy and; i that they would noy tttgia to consider make or their future en KING'S GAMBIT Mlnlc 11 BxP N-K3 B-N5('h N-02 States women's champion from the Manhattan Chess Club, advanced strongly in the opening of a Four Knights' Game when her opponent, Dave Daniels, an expert, played second best with 6 NPxB. Better clearly was 6 Black followed up with the dubious 9 Certainly, Black realized White would win a pawn by 10 NxP6. Black, however, hoped for compensating activity by 10 driving the knight and gaining quick development. But Black must have overlooked White's sharp 11 QxP.

For if 11 QxQ; 12 recovering the queen and remaining two pawns up with a routine victory. RUY LOPEZ Blark 12 B-K3 Mlnlc 13 K-B2 N-B3 N-B5 Blatk 14 P-B5 P-K4 15 NxNch PxP 16 KR-KB1 N-K2 17 BxN QxB Q-R3 B-KRfi B.R B-Q7 QR-Q1 P-QB3 18 P-N3 P-Q4 19 PxP 20 N-K5 N-Q4 21 RxB B-K2 22 R-B3 N-B2 23 NxKBP PS THE VANCOUVER ART GALLERY 1145WGeorgia 684-2488 Fischer White l-'lseher While 1 P-K4 2 P-KB4 3 B-B4 4 N-QB3 5 N-B3 6 B-N3 NxP 8 Q-K2 9 P-B4 10 P-Q4 KING Hort White Hort White 1 P-Q4 2 P-QB4 3 N-yB3 4 P-K4 5 N-B3 6 B-K2 7 B-K3 8 Q-B2 9 O-O 10 B-NS 24 Q-K7 Resigns INDIAN BKFEXCB Bertok 11 B-R4 P-KN4 N-R3 A thematic bishop sacrifice proved the winning weapon for Dr. Karl Burger of the Manhattan Chess Club when he faced the Marshall club star, Malcolm Weiner, during the recent match between the clubs. The key move in this Ruy Lopez was 19 BxPch, forcing the black king into the open after 19 20 N-N5ch, K-R3. Black's last move was, of course, his only resource.

If 20 21 would win at once. As the game went, it was necessary for White to play alertly. Any second-rate move might have allowed the black king to escape into safety. White made sharp progress with 23 QxPch, K-Nl; 24 Q-KR4, winning material and tempi. The crux of the issue shaped up after 28 Black was theoretically ahead in material.

If he could force a. swap of queens he would come out on top. That explained 29 heading for KR5. Black's hope, however, was destroyed1 by 30 N-N4ch, etc. But Black had one last gamble had he played.

31 BxP. If 32 KxB, Black would win by 32 White, therefore, sustained his lead with. 32 Q-B6ch, allowing him to capture the bishop without penalty. this was enougTi. I In the ism event.

Mrs. obvious, reply to Fischer's 3 B-B4. White could, in that case have played 4K-B1, easily recovering the time lost by a counter-attack on the enemy queen. Black manoeuvred not to retain the pawn, but to secure the strong-point centre at his Q4. White's 6 B-N3, however, sent the game into uncharted ways.

Thus, after 10 P-Q4, it was White who was forming the strong centre. And he had regained his pawn. The subsequent sidestep, 13 K-B2, was carefully con-s i by Fischer, who sealed his over-all positional edge by 14 P-B5. i 's final coup, achieved by the very rook menaced by the enemy bishop, was. typically, in the nick of time and irrefutable.

In the same event, Hort, as White in a King's Indian Defence, proved a sharper tactician than M. Bertok of Yugoslavia. The salient point was 13 N-N5. This was the beginning of a foray to give up a pawa to rponvpr decisive material later. The combination paid off after 20 NxQR.

Black's threat to win the knight by 20 Q-R4 was logical'. if it had bees' possible, would have given the game to Black. JBut Black's chance was thwarted by 21 P-t. B4, effecting the opening of a vital line. -Thus.

21 OiN would By AL HOROWITZ America's king of chess, Bobby Fischer, overwhelmed a 14-man round-robin in the recent Vinkovci, Yugoslavia, internationaL He scored 11-2, drawing four games and defeating nine opponents, including the entire Yugoslav contingent of eight national stars. This result must have been galling to the prominent Yugoslav who scoffed some years ago when Fischer took the United States championship by winning 11 straight games. The opposition lacked class, the Yugoslav said, and Fischer could never carry off such a coup against Yugoslav's best. Grandmaster Vlastimil Hort of Czechoslovakia and Grandmaster Milan Matulovic of Yugoslavia tied for second and third places with 9-4 each. Tied at were grandmasters Borislav Ivkov and Aleksander Matanovic, both of Yugoslavia.

International master Donald Byrne of Penn State was next with 8-5. Fischer's victory as White in a King's Gambit with Dra-goljub Minic was notable. Early, in his career, Fischer wrote an article, "The-King's Gambit is presenting a long analysis to reveal its deficiencies. Evidently, he has had a change of heart. Anyway, Mlnlc did not use.3 Q-RScK the Classic; 'j i jm .4 i BllM'k 12 B-N3 Bertok 13 N-N5 HliM 14 QR-Q1 N-KB3 15 P-B5 P-KN3 16 PxKP B-N2 17 B-QB4 P-Q3 18 NxNP O-O 19 NxP P-K4 20 NxQR ON-Q2 21 P-B4 N-B2 R-Kl QPxP PxP P-R5 QxN Q-Ql Q-R4 r-VK4 22 P-B5 B-KR3 Resigns N-K5 23 K2 P-KB3 MINIC He was afraid he would be reported by weekend holidayers returning to the city.

Later that same evening the cousin played a saw, while his wife accompanied him on the piano. Oldenburg had already wanted to make flags for the poles outside the Museum in the form of the "vimpel," a popular pennant version of the Swedish flag. Now he combined the pennant with the image of the saw. Various people read their own meanings into it. A fellow artist "pointed out the fish symbolism and the resemblance to a kite depicting masculinity." "Ulf Linde liked the idea of a saw (as a flag, i.e.

soft) on a pole of wood which could not be sawed down by what it was Supporting. Or could -r- if hard. The saw is both the phallus and the severer." 'Oldenburg goes on to extract symbologies" from" this object, which gives an idea 'of 'V tie playful flexibility of. bis yf pi. staffers eon-- Weiner Bla.k P-K4 N-QB3 P-QR3 N-B3 B-K2 P-03 N-QR4 P-B4 0-B2 B-N2 BPxP QR-B1 P-04 PxP KxP NxB KxB K-R3 Burner White 1 P-K4 2 N-KB3 3 B-N5 4 B-R4 5 O-O 6 R-Kl 7 B-N3 8 P-B3 9 P-KR3 10 B-B2 11 P-Q4 12 QN-Q2 13 Bl 14 PxP 15 B-Nl 16 KPxP 17 B-N5- 18 BotB 19 BxPch 20 N-NSch Barter White 21 W-N4 22 R4ch 23 QxPch 24 Q-KP4 25 g-R7'h 26 Q-R6 27 N-RTch 28 QxR 29 N-R2 30 N-N4ch 31 QxP 32 Q-B6ch 33 KxB 34 K-Rl 35 NxQch 36 N-N4 37 P-N3 QR-B1 39 RxR 40 R-B7 Wrlner Jtl.k P-N3 KM K-N2 K-B3 RKR1 RxN N-B4 CJ-B5 K-N4 BsP K-R4 R-B7 N-B3 RxR N-Q5 Resign mnmm OOP Until January 8, 1969 RECENT ACCESSIONS: 1968 Acquisitions to the permanent COLLECTORS SHOW: Works from private collections.

MASSEY MEDALS Photographs of award winning architecture I Canada. "--1'V 'V Gallery closed from January 9 i for Installation of N.V. 13, open to tha public. yv- "JanuaiY.23, 19. FOl'R KNIGHTS' CAME Whit Blu 12 QxQ PxQ 33 N-K7ch bl C.rer Iuills White Blx'k 1 P.K4 P-K4 2 K-KB3 N-QB3 5 B.I- N-B3 -4 B-N5 -B-N5 o-o o-o 6 BxN MPB QJ1 OM 14 N-l 15 P- KJt-l i ub 2BA 7 I5tP BxN -ii: Ki NK7th is oe announces.

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