[Brett Track 1]

[29:26 mins]

Description of developing an interest in non-British art: mentions family background; significance of getting to know Brazilian artists; meeting David Medalla [DM], remarks about DM’s extensive knowledge of poetry and obsession with Arthur Rimbaud. Story about DM and Paul Keeler [PK] converting their flat into a gallery. Meeting Sergio Camargo in Paris, which led to assignment for The Times to review 1965 São Paolo biennale where GB met Hélio Oiticica, Lygia Clark and Mira Schendel. GB’s parents’ involvement in the arts. Anecdote about GB’s father Lionel Brett [LB] becoming Lord Esher. On absorbing Modernism from LB. GB’s defence at Eton of LB’s abstract paintings. Briefly reflects on difficulty of keeping chronological order during the recording. Substantial comments on “energy” in artworks with reference to Vlaminck and Kinetic art. Reflects on interest in opposites/paradoxes in art. On time spent with Sergio Camargo [SC] in Paris, and description of SC’s generosity towards other artists, articulacy, and wisdom. Mentions Medalla’s enthusiasm for other artists’ works. Substantial comments on developing a language for Kinetic art; references to, and differences from, Pop art and Minimalism; mentions Andy Warhol. Recalls first trips with Paul Keeler to Brazil, and Venezuela; GB’s trip to Mexico (1965): mentions Soto, Otero, Villanueva. On discovery and significance of Soviet art especially Malevich and Tatlin in the mid-1960s: details. Mentions admiration for work of Schwitters, and odd gallery that exhibited his work. [29:26 mins]

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