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would range from the swill precision of James Porter at the beginning ol his career to the economically stated impressions, in Harlem and elsewhere, of Alvin Hollingsworth ? a young man whose awareness ol situations and trends is as penetrating as his graphic gifts.
In sculpture I should feel almost triumphantly delighted if I could have small works ? just one each ? by Richmond Barthe, Sargent Johnson, Elizabeth Catlett, Marion Perkins, Henrv Bannarn, William Artis, Ed Wilson, Barbara Chase (in wood rather than metal), and Richard Hunt in his least technological mood; and something lighthearted in wire by Hayward Oubre. I would not collect ceramics more than casually, but would enjoy a bowl bv William Artis and an oddly shaped colorful vase by Earl Hooks.
I would collect ? non-objective ? art, of which Negroes have produced a great deal during the psychological aftermath of the Second World War, il I had any monev lelt and something intrigued me bv its cleverness or emotionalized me bv its color. Nevertheless, I should recognize that Alma Thomas. Beaulord DeLaney, Romaic Bearden, Richard Dempsey, and Merton Simpson are important representatives ol the belief that the highest art should not represent anything, that it should, according to Andre Malraux, reject ? aII values that are not purelv those of painting. ?
But as it is difficult to rcject Lite, manv abstract and ? non-representational ? artists, including Negroes, are returning to the market place. Alvin Hollingsworth, for example, writes:
Although subject mailer is again entering ihe contemporary art scene, a tremendous wealth of themes remains ignored...I have painted in both fashions ? figuratively and abstractly.... Alter working abstractly, I had a dual reason lor again attacking subject matter with renewed vigor. First. I re-cognized 1 should take advantage ol themes close to me. Secondly. I lelt there should be some fusion ol mv liguralivc experience with my abstract experiences with color. The result has been that the conflicts of techniques anti schools no longer exist lor me. The abstract fuses with the figurative in my work. ..
1 use figurative means if I I'e-el they will help me U> say whal I want to say dynamically. But when I approach the expression of feelings, moods and sensual (.Incisions. I I inti that abstract parnting yields a more suitable creative tool. Expression is the lirsl consideration - and the artiM nmsl asset l the right, as Picasso has done, to express hinist.ll as he sees lit and in whaie\er wav he leels at the time.
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