27 July 2014 § Leave a comment
Kruger’s latest exhibition at Modern Art Oxford comprises different strands of her work – a site specific text installation, multi-channel video and her trademark collages. The first work that you encounter having ascended the stairs in to the spacious first floor gallery is untitled ‘architectural wrap’ that impressively covers the covers the entire lofty space.
Over the floor variety of black and white words list supposed categories of people as varied as posers, fatuous fools or survivors. One might be happy to be considered grouped with intellectuals and professors as well as perhaps with doers and winners but to be labelled within sycophants, fatuous fools, jerks or airheads however may not be quite so desirable.
Here then is a potted selection of labels that we, consciously and unconsciously attach to those around us and Kruger cleverly forces us to consider our complicity in categorising not just ourselves but those around us. On the walls in words up to thirty feet high we are meanwhile invited to ponder statements like Be Here Now, Remember Me or Is That All That There Is
In the middle gallery a selection of her 1980′s pasted collages is presented – works that evolved from her work as a Conde Nast designer. Including Talk Is Cheap and You Kill Time these modest black and white pieces set the template for iconic future works like I Shop Therefore I Am or Your Body Is A Battleground.
Finally, Kruger’s video Twelve, 2004 comments on the absurdities of human interaction. Members of staged four-way interactions are projected on to the four walls of the gallery surrounding us. Whilst we see the expressions of the actors and hear their words, their ‘real’ thoughts are presented in written form as a news-channel style ticker-tape across the bottom of the screen challenging any cohesive narrative.
Barbara Kruger is at Modern Art Oxford until 31 August 2014
21 July 2014 § Leave a comment
As well as being a famed actor and director, Dennis Hopper was a prodigious snapper. For a period he took his beloved Nikon 28mm wherever he went, working so obsessively that his friends, the artists Wallace Berman and Edward Kienholz actually referred to him as ‘the tourist’.
18 July 2014 § Leave a comment
Adrian Ghenie is one of the chief figures of The Romanian ‘Cluj School’ – comprising artists like Victor Man, Mircea Cantor and Ciprian Muresan – a painter who’s star has been rising exponentially since his relatively recent arrival on the art scene. His latest exhibition, Golems at Pace London, provides ample evidence of why he is so highly regarded.
The golem is an animated anthropomorphic creature from Jewish folklore, created entirely from inanimate material; a doer of terrible deeds. Ghenie’s reference here is the creation of a radical idea in society – in this case Darwin’s – let loose to change the socio-cultural environment. Darwin’s personal story holds a special fascination for Ghenie; the skin condition and vomiting that afflicted him, his luxuriant beard and Victorian attire all afford a rich source of textural possibilities that reveal themselves in this series of portraits.
The exhibition consists of a collection of new figurative works of Charles Darwin shown alongside the ‘Darwin Room’, an installation that consists of an assemblage of meticulously sourced 19th century furniture, wooden floor boards and wall panels. Taking the room’s composition from Rembrandt’s Philosopher in Meditation Ghenie has created a three-dimensional environment that perhaps at first glance resembles a two-dimensional painting. Led in by an assistant with torch one reaches a dark and gloomy and life-sized room that evokes an intriguing physiological atmosphere of anxiety and comfort. The only light is that of the ‘light of reason’ which shines brightly through a small, solitary window – the room therefore a prototypical site for visionary thought within European history.
The installation itself devoid of figures. These are supplied by the impressive artworks in the adjacent room. Portraits of 20th century figures whose actions indelibly changed the course of history are a recurring theme in Ghenie’s work and to him the publication of The Origin of Species represents such an inflection point – his ideas stolen by despots and dictators and misappropriated.
Ghenie presents himself in Self portrait as Charles Darwin, 2014 and he himself becomes the arbiter of scientific change, the cliché of the tortured intellectual, and the anamorphic threat of the Golem; the idea let loose to reek havoc. All of these elements are present in Ghenie’s Bacon-esque brush strokes. He highlights an era that questioned man’s significance, the existence of God, and the question of Creationism —through a use of paint that suggests the anamorphic nature of identity through the evolution of scientific understanding.
These works however are not just introverted intellectual exercise or conceptual navel-gazing, they are visually stunning and beautifully executed. The merging of impressive technique with rigorous artistic thought process provides the viewer with a rich and stimulating experience that will enhance Ghenie’s reputation not only critically but in the auction houses of the future.
Adrian Ghenie – Golems is at Pace London until 25 July 2014
16 June 2014 § Leave a comment
Keith Coventry seems destined to be one of the ‘nearly men’ of British art. Despite being championed by Saatchi and featuring in the Sensation exhibition that helped make the names of many of the YBA’s Coventry has remained stubbornly on the sidelines.
Perhaps his work is either not showy enough or too dry to catch on to popular taste. Nevertheless he has plenty of followers for his intelligent and interesting work.
He is most well known perhaps for his Estate Paintings. Here Coventry famously used the diagrammatic representations of the buildings themselves that, when denuded of the surrounding information, strangely recall the formal aesthetic language of Suprematism – that aimed at the creation of a new, pure, abstract visual language freed from the dull constraints of representation.
As art writer Matthew Collings said “These paintings capture the moment when modernist Utopian dreams — the well-meant belief that peoples’ lives would be bettered by living in clean, modern, high rise buildings, with lifts, way up above the street with plenty of fresh air—evaporated.”
Vigo is showing here his Ontological Pictures (1996 – 2004) - the first show dedicated to this important series – where Coventry has taken the arrow and location symbols that accompany the legend YOU ARE HERE frequently found on those same estate maps, and turning them into wooden models which are then scattered randomly onto the canvas to create the content of the paintings.
In both series the process of isolating and re-contextualizing these specific visual elements has allowed Coventry to, with an extreme economy of expression animated by a subtle, dry wit, throw the ideological and theoretical meanings within those symbols into stark relief. He mocks the utopian social hopes of certain strands of Modernism that conceived high-density urban housing as a solution to a raft of social ills of modern life.
Keith Coventry solo shows don’t come around too often – this is an excellent opportunity to see one the other YBA’s for a change.
13 June 2014 § Leave a comment
‘It’s a simple idea, and it’s perfect for the genre. The newspaper, that man-made butterfly that ends its brief but glorious day-long life in the bin, the gutter, or floating piecemeal through a Tube tunnel, is offered up for the kind of sober contemplation that it rarely, if ever, enjoys.’ Kate Quill (The Times)
Hugh Mendes has been painting images of newspaper clippings for about ten years now. Most recently he has been working on an ongoing, and never ending, series of obituaries where a life is condensed into a few column inches. Locating a hidden melancholy in our society awash with imagery the relentless stream of stories from the press is halted and everyday death is revealed beneath a grand narrative.
A single image, a scrap of newsprint, becomes a heavy token, a memento, even an icon, when rendered in paint. The act of seeing is frozen in time and the act of painting, and therefore sustained concentration, brings a degree of focus and depth to what otherwise would be a fleeting moment in the ephemeral daily press.
Also shown are a series of works commemorating the 100th anniversary of the Great War. Mendes was actually born on Armistice Day in a British military hospital in Germany: his mother a nurse and his father a British Intelligence code breaker. Using the same approach as with his Obituaries series ephemeral newspaper cuttings are elevated to poignant memorials for those who served and died.
A journey in to the Cotswolds is always enjoyable, and this is as good an excuse as any to drop in to High House Gallery - one of the few outposts where you can find real contemporary art outside London.
Hugh Mendes Obituaries & Other Works is at High House until 29 June 2014
12 June 2014 § Leave a comment
Following on from the excellent Yoshishige Saito exhibition (reviewed on AKUTA last month) Annely Juda are showing everyone’s favourite Yorkshire artist, David Hockney. Showing in the upstairs gallery are a series of sixteen bold and striking iPad drawings entitled The Arrival of Spring that the observant amongst you may have seen in the impressive Hockney show at the Royal Academy – A Bigger Picture (previously reviewed here).
When exhibited at the RA this series was shown in a darkened room on iPads mounted to the wall. Here they are an altogether different proposition blown up to nearly 5×4 ft (a selection of four are even larger) and filling the gallery. The increase in scale does not always work. There are some strange looking blobs and areas that seem unfinished but on the whole Hockneys’s eye for colour and form wins over and its hard not to admire his virtuosity on the small screen of the iPad.
The unerring digital brush strokes and the even coloration also work well in lending the landscapes a slightly unreal air. This slightly artificial look would be strange were the landscapes realistic but it works well with the strangely exotic colour schemes that Hockney’s keen eye draws from the subtle tones of the Yorkshire Wolds.
Amongst the iPad drawings the film Woldgate Woods, November 26th 2010 is also being shown: nine video monitors chart a slow progress through a snowy wooded landscape in East Yorkshire. Strangely hypnotic.
The second gallery space has been reserved for a series of new charcoal drawings which Hockney made in the Spring of 2013 following the RA show. Looking for a change from colour he stated “The Chinese say black and white contains colour, and so it can. They are five separate views of Woldgate, and with each one I had to wait for the changes to happen. Some were too close to the previous ones and I realised I was being impatient. I had to wait for a bigger change. I thought it was an exciting thing to do. It made me look much harder at what I was drawing.” (Guardian)
The absence of colour makes one look more closely at these pieces just as he looked harder drawing them. The effort is rewarded with an appreciation of his light touch and observant eye in these carefully observed sketches of leafy lanes and snowy woods.
David Hockney The Arrival of Spring at Annely Juda until 12 July 2014
The printed works are available in edition of 25. A further four prints have been printed in large format and mounted on dibond in an edition of 10.
10 June 2014 § Leave a comment
I have been aware of the existence of the CASS Foundation for a number of years but had somehow not got around to visiting. The trip to the Foundation’s woodland location, deep in the heart of the Sussex countryside, always seemed like something that could wait until the next trip ‘down that way’.
In particular I have always been rather wary of anything to do with sculpture located in rural locations where it is rather too easy to end up at a depressing collection of derivative organic forms or animal carvings.
Nevertheless the opportunity for that particular foray in to the country arrived last week as I weaved through pretty villages and leafy country lanes and through the grand gates of CASS.
Immediately it was evident that this was was not going to be a disappointing visit. Standing guard outside the gates was a delightfully over the top work by Gary Webb in pink, silver and gold whilst next to the parking area were other works by Tony Cragg and Sean Henry.
A stroll around the winding paths of the estate revealed a series of contemporary sculpture of the highest quality. An army of Peter Burke figures in corten steel stood to attention in a clearing whilst a blancmange pink zebra entitled Doppenganger by Michael Joo gazed over the adjacent fields.
Bill Woodrow’s 2000 piece for the 4th plinth in Trafalgar Square Regardless of History has found a home here as has Eduardo Paolozzi’s London-Paris - the last work that he completed before he died.
Other notable pieces include Cao Fei’s pink inflatable pig House of Treasures Phillip King’s Suns Roots II and Juliana Cerqueira Leite’s Climb (she also has a pavilion of her work on show).
The organisation is actually a charitable foundation in 1992 by Wilfred and Jeannette Cass dedicated to commissioning new work from emerging and established artists. The Foundation’s 26 acre grounds are home to an ever-changing display of 80 monumental sculptures, many of which are available for sale with the proceeds going directly to artists.
The main building has a changing exhibition – currently the excellent Gary Webb as well as a few books and a complimentary cup of tea of coffee to round off a delightful and worthwhile trip to the country.
The CASS Sculpture Foundation is open 7 days a week 10.30-4.30 through the summer
CASS, New Barn Hill, Goodwood, near Chichester PO18 0QP. Tel (0)1243 538 449