Glen Brown, Come to Dust – Gagosian Mayfair, London

20 February 2018 § Leave a comment

“I am rather like a Dr. Frankenstein, constructing paintings out of the residue or dead parts of other artist’s work. I see their worlds from multiple or schizophrenic perspectives, through all their eyes. Their sources of inspiration suggest things I would never normally see – rocks floating in far-off galaxies, for example, or a bowl of flowers in an 18th-century room, or a child in a fancy-dress costume. The scenes may have been relatively normal to Rembrandt or Fragonard but because of the passage of time and the difference in culture, to me they are fantastical.”    Glenn Brown

Glenn Brown Gagosian Mayfair London

Glenn Brown’s latest show, amazingly his first major UK one since 2009, takes advantage of the large spaces of Gagosian’s recently opened (see here) Mayfair gallery. This is a hugely impressive, state of the art space and Brown’s classical themes and inspirations are well suited to this gallery’s wooden floors and dark walls as opposed to the cliched concrete floored white cubes found in most commercial spaces nearby.

Glenn Brown Gagosian Mayfair London

The lighting is low and each work is spotlight whilst besuited security guards add to the feeling of entering a major London Museum rather than a west end gallery. This seems entirely relevant since Brown appropriates from classical artists that include Rembrandt, Delacroix, Greuze, and Raphael in a variety of genres like landscape, portrait, flower and history painting.

Glenn Brown Gagosian Mayfair London

He usually uses Photoshop to distort, merge and colour the selected sources in sophisticated compositions that fuse diverse histories – Renaissance, Impressionism and Surrealism. The original may in turns be obvious or hardly recognisable. Sometimes he puts them in historic gilt frames to confuse us more.

Glenn Brown Gagosian Mayfair London

In his oils, hybrid figures painted in intricate swirls reveal the sumptuous potential of oil paint. While these paintings give the illusion of thick impasto with volume, closer scrutiny reveals smooth surfaces that glow with a vital force. Up close form also disappears in complex swirls and vortices as if slipping from memory in some drug induced trance or dreamlike haze.

Glenn Brown Gagosian Mayfair London

In graphic works Brown paints using largely black and white lines over a neutral ground. Meticulous, elongated brushstrokes reimagine works from the likes of Raphael and Guido Reni to create depth and animation in portraits that barely seem to exist.

Glenn Brown Gagosian Mayfair London

There are also a significant number of sculptures, which we found slightly less successful. Elaborate masses are built from thick ‘strokes’ of coloured paint – perhaps imagine the likes of a sculptural Kossof. Some partially encase nineteenth-century bronze statues with growths of pulsating, gravity-defying paint.

Glenn Brown Gagosian Mayfair London

This is a stunning exhibition of formidable technical ability and Brown impresses with an artistic language that transcends time and pictorial conventions. In his unique vision the abstract and the visceral, the rational and irrational, the beautiful and grotesque, churn in a dizzying amalgamation of reference and form. Not to be missed.

Glenn Brown Gagosian Mayfair London

Glenn Brown, Come to Dust runs at Gagosian Mayfair until 17 March 2018

For more information visit www.gagosian.com

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Wim Wenders: Instant Stories – The Photographers Gallery, London

8 November 2017 § Leave a comment

Anyone familiar with the work of Wim Wenders may suspect that he has more than a passing interest in photography. In two of his movies in particular the use of Polaroid cameras is a vital part of the narrative: in the road movie Alice in the Cities there is a photo-obsessed protagonist whilst in The American Friend, Dennis Hopper snaps himself repeatedly. Both make appearances in the exhibition, the film clip of Hopper showing alongside multiple images taken during the period of filming.

Wim Wenders: Instant Stories - The Photographers Gallery, London

It is not however necessary to have any knowledge of his films to enjoy this exhibition for Wenders is a fine photographer. He is reluctant to admit this, and wants the Polaroids to be enjoyed rather as illustrations of the period and a record of the people and places.

Wim Wenders: Instant Stories - The Photographers Gallery, London

He says “I was learning the craft of filmmaking in those years, and Polaroids were the perfect complimentary tool: as a visual notebook, a quick way of ‘framing’ the world, a verification of my interest in people, places, objects, or simply as a way to remember things.”

Wim Wenders: Instant Stories - The Photographers Gallery, London

Wenders was a prolific Polaroid user, so much so that the company would supply him with cameras and film to test. He himself estimates that he took more than 12,000 Polaroids between 1973 and 1983 although only 3,500 remain. “The thing is,” he says, “you gave them away. You had the person in front of you, whose picture you had just taken, and it was like they had more right to it. The Polaroids helped with making the movies, but they were not an aim in themselves. They were disposable.”

Wim Wenders: Instant Stories - The Photographers Gallery, London

The images are wonderfully evocative. The are instinctive and clever. Sometimes they make clever use of colour and light at others there are moody black and white street scenes. He dips in an out of recognisable styles. In one a car door hangs loosely open, inviting us to complete a story perhaps. In another a pair of spectacles looks back at in front of a blurred cityscape.

Wim Wenders: Instant Stories - The Photographers Gallery, London

There are moments of leisure – a casual image of a bottle of ketchup on a table is cleverly composed and invokes Martin Parr’s casual inspection on culture. An image of Dennis Hopper cigarette in hand is a perfect off-screen image of a celebrity. Stacks of Campbell’s Soup are clearly a reference to Andy Warhol.

Wim Wenders: Instant Stories - The Photographers Gallery, London

Often they were his visual notebook – a way of testing out frames and ideas – but more than that they offered him a kind of liminal space between the subject and the photograph, the photographer and the act of taking a photo, the intention and the outcome.

Wim Wenders: Instant Stories - The Photographers Gallery, London

He is also well aware of the place in photographic history of the Polaroid. “The entire Polaroid process has nothing to do with our contemporary experience, when we look at virtual and vanishing apparitions on a screen … This was a true THING, a singular object of its own, not a copy, not a print, not multipliable, not repeatable.”

Wim Wenders: Instant Stories - The Photographers Gallery, London

Sadly it is now 30 years since Wenders took any Polaroids. “It’s not just the meaning of the image that has changed – the act of looking does not have the same meaning. Now, it’s about showing, sending and maybe remembering. It is no longer essentially about the image. The image for me was always linked to the idea of uniqueness… that whole notion is gone.

Despite his insistence that this is ephemera not to be taken seriously, when displayed in a gallery and viewed as a body of work there is no doubt that these are important images and easily elevated to the status of ‘art’.

Wim Wenders: Instant Stories - The Photographers Gallery, London

Wenders insists “The meaning of these Polaroids is not in the photos themselves – it is in the stories that lead to them. That’s why the exhibition is called Instant Stories – the catalogue is a storybook more than a photo book.” This is a ‘story’ that is absolutely essential viewing for any photographer or film maker whilst still being a rich and fascinating experience for everyone.

Instant Stories is at The Photographers’ Gallery, London until 11 February 2018

CELLOPHANELAND* were guests of The Photographers’ Gallery

Basquiat: Boom for Real – The Barbican Gallery, London

2 November 2017 § Leave a comment

Do not come to the latest Barbican Gallery exhibition Basquiat: Boom for Real expecting a straightforward show of Jean-Michel Basquiat’s work. This is rather more than that and all the better for it. This is an exhibition where, in the words of Jane Alison, the Barbican’s Head of Visual Arts, we can “see those works in the context of the New York scene of the 1980s.”  We therefore get videos, photographs, music, film, books and paintings, where Basquiat is presented as a multidimensional artist weaving between media.

Basquiat_Boom for Real_Barbican Jean Michel Basquiat

New York at that time was certainly a rich melting pot. A dangerous and violent city on the edge of bankruptcy, it housed a thriving cultural scene. Basquiat, young and black has often been pigeon-holed as a a poor outsider, who developed from homeless graffiti artist to gallery favourite. The truth is rather different.

Basquiat_Boom for Real_Barbican Jean Michel Basquiat

From a relatively wealthy family, Basquiat went to a private school, was well educated and a talented artist and was admiring Renaissance masters in New York galleries in his teens. Having dropped out of college, he briefly ran away from home, stayed with friends and scrawled graffiti as ‘Samo’ (a play on ‘same old shit’), although its style was not ‘from the streets’ but always from an artist insider critiquing the contemporary art scene.

Basquiat_Boom for Real_Barbican Jean Michel Basquiat

The Barbican Gallery divides the show in to some fourteen sections. From Samo graffiti we then see the beginning of his stratospheric rise in a recreation of the New York/New Wave exhibition. A landmark show where despite including the likes of Andy Warhol, Nan Goldin and Robert Mapplethorpe, the young Basquiat was singled out for admiration.

Basquiat_Boom for Real_Barbican Jean Michel Basquiat

Between examples of his work we get to learn plenty about the post-punk underground art scene: The Canal Zone, a graffiti covered downtown loft/art space brought him together with collaborators for collage and postcards; the Mudd Club was where he hung out and performed with his band; at Area he hung out with Keith Haring or Madonna whilst dj-ing sets on a Brian Eno created sound system.

Basquiat_Boom for Real_Barbican Jean Michel Basquiat Downtown 81

A key element of the exhibition is a remarkable film, Downtown 81, a chronicle of a day in the in the life of a down and out artist, for which Basquiat was chosen to play the leading role. It is essentially a prescient version of his real life as we see him spraying Samo-tagged graffiti and hawking his art (some of it in the show) around galleries as he visits clubs, watches bands and interacts with the larger than life local characters.

Basquiat_Boom for Real_Barbican Jean Michel Basquiat

Glenn 1984 – Jean-Michel Basquiat

If so far we haven’t mentioned his art much, it is with good reason – there is not a lot here. We do see his graffiti, collages, postcards, sketches, polaroids and even his graffiti covered fridge. We also see books, records and photographs as the Barbican outlines his jazz, art and classical influences.

Basquiat_Boom for Real_Barbican Jean Michel Basquiat

Jean Michel Basquiat – King Zulu 1986

Where we do see his larger works – vibrant, raw imagery, abounding with fragments of bold capitalised text – they offer insights into both his encyclopaedic interests and his experience as a young black artist with no formal training. New scholarship sheds light on some of his most acclaimed works – sampling from an extraordinary breadth of source material – anatomical drawings to bebop jazz to silent film.

Untitled (Pablo Picasso) 1984 - Jean-Michel Basquiat Boom For Real Barbican Gallery

Untitled (Pablo Picasso) 1984 – Jean-Michel Basquiat

“Untitled” (1981), for example, includes variations of the name Aaron. While Basquiat’s father understood it to be a reference to baseball player Hank Aaron, the Barbican Gallery posits other allusions: a character in Shakespeare’s play “Titus Andronicus,” and the brother of Moses in the Old Testament. Two letters also feature individually, “A” and “O,” and relate to a passage from Revelation that fascinated Basquiat: “I am Alpha and Omega, the beginning and the end.”

Jawbone of an Ass Basquiat_Boom for Real_Barbican Jean Michel Basquiat

Jawbone of an Ass 1982 – Jean Michel Basquiat

The label for his 1982 painting Jawbone of an Ass, he lists historical figures including Hannibal, Machiavelli, Savonarola, Sappho and Rameses II, is a vision of world history as a ceaseless round of wars. Cartoon monsters with savage teeth express the violence of the painting’s Biblical title. In the bottom right, a black boxer hits a white opponent.

Basquiat_Boom for Real_Barbican Jean Michel Basquiat

He worked surrounded by imagery: open books, pages from magazines and photographs laying around him as the TV flickered and jazz music played. He worked rapidly absorbing influences from anything and everything.  Sometimes the resulting art is hard to like, at others remarkably fresh, powerful and multi-layered.

Basquiat_Boom for Real_Barbican Jean Michel Basquiat

“Untitled” (1982) – Jean-Michel Basquiat

Strangely there is nothing here about his heroin addiction and untimely death at just 27, and we do not know if there were lost chances to save him from self-destruction. We are ultimately left to ponder what sort of art this talented and elemental force would have continued to produce if it were not for his tragic end.

Basquiat: Boom for Real is on at the Barbican Gallery in London until 28 January 2018.

All images  © The Estate of Jean-Michel Basquiat, Licensed by Artestar, New York

Rachel Whiteread – Tate Britain

14 October 2017 § Leave a comment

Now that Frieze, Frieze Masters and the PAD art & design fair are packed up we can move our attention to what else is going on in London this month. October is always chock a block with inviting exhibitions it is hard to know what to recommend first.

Rachel Whiteread Tate Britain

The Tate Gallery seems a pretty good place to start where Tate Britain are currently presenting the most substantial retrospective survey to date of work by Rachel Whiteread.

Rachel Whiteread Tate Britain

The exhibition reveals the extraordinary breadth of her career over three decades, from the four early sculptures shown in her first solo show in 1988 to works made this year especially for Tate Britain including Chicken Shed, a new concrete sculpture installed outside the gallery.

Rachel Whiteread Tate Britain

It is particularly interesting to see the remarkable consistency of vision right from her work as a student at The Slade and up to the present day. The curator, Ann Gallagher has herself also noted “through consistency of process there is an incredible variation”.

Early works from her fist solo exhibition at the Carlile Gallery in 1988, just one year after her graduation include domestic objects like a wardrobe interior and underside of a bed.

Rachel Whiteread Tate Britain

From this point onwards we see the interests that define Whiteread’s ongoing practice – the process of casting forgotten space, with an experimental use of materials.

With ordinary, everyday objects she manages somehow to draw an unexpected emotional power. Each work managing to resonate with the history of human presence. A series of multi-coloured hot water bottle interiors cant help but bring to mind strange limbless and sculptural torsos.

Rachel Whiteread Tate Britain

Known for her signature casting technique, Whiteread’s work ranges in scale from the modest to the monumental in a variety of materials such as plaster, resin, rubber, concrete, metal and paper. Toilet roll tubes, furniture, windows, doors, rooms, stairwells and even libraries, all are prey to Whiteread’s attention.

Rachel Whiteread Tate Britain

The large spaces that Tate Britain have devoted to the exhibition allow us to gain some distance from the larger objects, whilst partitions allow places where there are more intimate groupings.

Rachel Whiteread Tate Britain

The centre of the room is dominated by a cast of ‘Room 101’ – a room in the old BBC Broadcasting House that may have inspired George Orwell. We not only see the large bulk and presence of the room but, moving closer, see the the fine details of the cracks, textures and marks on its internal wall.

Rachel Whiteread Tate Britain

Another monumental sculpture is of a large stairwell. From any angle it has an eerie familiarity as a stairwell such as one in an industrial spaces or concrete car park. However, of course it is the empty space that has been made solid – reminding us that it is our mental equivocation that brings a particular resonance to Whiteread’s work

Rachel Whiteread Tate Britain

Out in the expansive Duveen Gallery another highlight of the exhibition is Untitled (One Hundred Spaces) 1995 – a colourful installation of 100 resin casts of the underside of chairs.

Rachel Whiteread Tate Britain

Less impressive to us – but interesting to see nevertheless – were the special sections are also devoted to archive material and to the artist’s drawings. Working with pencil, varnish, correction fluid, watercolour and collage, these works on paper constitute a distinct area of Whiteread’s practice  but do not have anything like the impact of her sculptural work.

Rachel Whiteread Tate Britain

On the way out be sure to see the internal cast of a chicken shed located in the gardens, an arresting sample of the remarkable visual power of Whiteread’s work as well as a reminder of the breathtaking cultural short-sightedness vandalism committed by Tower Hamlets council when they demolished ‘House’ in 1994.

Rachel Whiteread Tate Britain House

The exhibition is co-organised with the National Gallery of Art, Washington, where it will be shown in autumn 2018, and will also tour to the 21er Haus Vienna and the Saint Louis Art Museum.

CELLOPHANELAND* were guests of the Tate Gallery

For more information visit www.tate.org.uk

Frieze London 2017

10 October 2017 § Leave a comment

October is the very best time of year to see art in the capital. The city is abuzz with the latest blockbuster shows – 2017 brings Jasper Johns as well as Dali/Duchamp to the Royal Academy, Jean-Michel Basquiat at the Barbican and Rachel Whiteread is showing at the Tate. The commercial galleries have pulled out their biggest names – there are Jean Dubuffet at Pace, Jake & Dinos Chapman at Blain Southern and Anselm Kiefer & Robert Longo at Thaddeus Ropac. Meanwhile all the big names auction houses stage their autumn contemporary sales.

Olafur Eliasson Frieze Art Fair London 2017

Olafur Eliasson

Frieze of course also comes to London, not only with the contemporary focused Frieze Art Fair, but the thriving Frieze Masters event just up the Regents Park footpath. The great and the good of the art world come together with a smattering of celebrity names to see the latest that the art world has to offer.

Matthew Ronay Frieze Art Fair London 2017

Matthew Ronay

Our annual visit to Frieze is always highly anticipated. Not only to admire some great art but to also to discern new trends, see what the big names have on offer admire the most spectacular works – after all this is the biggest fair in the greatest city in the contemporary art world.

Cecily Brown Frieze Art Fair London 2017

Cecily Brown

Yet still, and perhaps because of the anticipation, there is again a tinge of anti-climax. Are we expecting too much or could Frieze do better? Their gallery selection process doesn’t help – preferencing worldwide galleries means we seem to get mediocre work from perhaps Peru or Burkino Fasso at the expense of many excellent local galleries (is this not a London art fair after all?).

Ryan Mosley Frieze Art Fair London

Ryan Mosley

Gone are the bigger artists names and the spectacular and expensive works that graced earlier shows and we now seem to get more mid level and affordable (?) pieces – even from the big name galleries. One is left with the niggling impression that much of the best work is hidden away and that most of the deals are done back at their base.

Cristina Iglesias Frieze Art Fair London

Cristina Iglesias

The curated ‘Sex Work’ exhibition spread through the show failed to stir us and was rather tame. Still, this is the very best contemporary art fair in Britain, there is plenty of good art to be found and new names to be discovered. There is always something to surprise, people to meet and in the end, where else could you for example pick up a free Passport to Antartica?

Billy Childish Frieze Art Fair London

Billy Childish

Amongst our selection of what we noticed at this years fair were: Olafur Eliasson whose colour-shifting balls drew a large crowd whilst Eddie Peake was eye-catching as usual. We loved Ryan Mosley’s newest works, rather more colourful than usual and Mathew Ronay’s curious pastel-coloured and tactile sculptures. On the other hand Jeff Koon’s Glitterball Jesus and Hauser & Wirth’s Bronze Age pseudo museum display failed to inspire.

Eddie Peake Frieze Art Fair London

Eddie Peake

Ai Weiwei Frieze Art Fair London

Ai Weiwei

Kiluandi Kia Henji Frieze Art Fair London

Kiluandi Kia Henji

Anne Hardy Frieze Art Fair London

Anne Hardy

Hauser Wirth Frieze Art Fair London

Hauser & Wirth Bronze Age

Jonathan Gardner Frieze Art Fair London

Jonathan Gardner

Jeff Koons Frieze Art Fair London

Jeff Koons

So, will we go back next year? Of course we will – and we’re looking forward to it already!

akickupthearts were guests of Frieze London

For more information visit www.frieze.com

The Polaroid Project: At the Intersection of Art and Technology ed. William Ewing and Barbara Hitchcock

4 July 2017 § Leave a comment

This post is also featured at www.cellophaneland.com

Remember that time, not so very long ago, when we all rushed down to the local Boots to drop in our films for printing? From this frustration of impatiently waiting anything from an hour (for those willing to stump up extra) to a week, to see the results of all the careful holiday snapping, lays the foundation of the Polaroid.

The Polaroid Project

Back in 1943 Edwin Land, having been asked by his young daughter why she couldn’t see her photo right away, immediately set to work. Within an hour he had conceived the technology and the story of instant photography had begun.

The Polaroid Project, Timothy White, Untitled 1998 The Polaroid Project

The Polaroid Project Timothy White, Untitled 1998

When the long and painstaking development process (no pun intended), documented in the book by prototypes, models and test images, had been completed, the result was not only scientifically groundbreaking but also heralded a new chapter of artistic expression. The New York Times proclaimed “There is nothing like this in the history of photography…”

The Polaroid Project

Nowadays Instagram is the leading representative of the world of instant imagery. It should therefore not be surprising to know that prominent in the lobby of their California HQ sits a collection of Polaroid cameras, the most noteworthy being the 1977 OneStep featuring the rainbow logo appropriated by Instagram in its own design.

The Polaroid Project

Land had in the seventies already predicted escalating use of cameras saying that they would soon be used ‘All day long…. like a telephone’, whilst probably not anticipating they would often be one and the same apparatus.

Polaroid Project S. B. Walker, Blocked out Polaroid sign, 2011

Polaroid Project S. B. Walker, Blocked out Polaroid sign, 2011

In this lay the recognition that the world, and people, had irrevocably changed; the barrier of subject and photographer had started to disappear in line with Barthes ‘Death of the Author’ and there was a continuous recording of lifes events and expansion of the ‘sharing’ experience. The almost instant sharing of Instagram, Facebook and Snapchat seem to be a natural development of what began with the Polaroid.

Polaroid Project Dennis Hopper, Back Alley 1987

Polaroid Project Dennis Hopper, Back Alley 1987

For the more artistic the new product was impressive but came with many built in limitations. Images were usually of limited size (save by using larger studio-bound cameras), fixed formats, limited camera adjustments. Laboratory colour and exposure manipulation were impossible.

Polaroid Project Barbara Crane, Private View, 1981

Polaroid Project Barbara Crane, Private View, 1981

Despite, or perhaps because of, these very particular restrictions it invited users to become ever more inventive. Artists like Lucas Samaras and Bruce Charlesworth manipulated or separated the emulsion or used repeated exposures. David Hockey used multiple images overlaid or arranged in grids to increase dimensions. Other painted, drew or scratched on and around the developed image.

Polaroid Project Paolo Gioli, 2010

Polaroid Project Paolo Gioli, 2010

Andy Warhol took all his portraits with a Polaroid and incessantly snapped his way around New York, Others like Robert Mapplethorpe, Patti Smith, Robert Rauschenberg and Chuck Close often used it, whilst film makers, commercial, advertising and fashion photographers found the instant images essential for planning their shots.

Polaroid Project Toshio Shibata, Untitled (#228), 2003

Polaroid Project Toshio Shibata, Untitled (#228), 2003

It’s colour initially put off many art photographers, black and white being up to then the choice for ‘serious’ practitioners. This however was the era of ever more portable 35mm cameras and also of  photographers like William Eggleston and Stephen Shore and Polaroid were in a perfect position to tap in to the wider acceptance of their casual colour snap-shot aesthetics.

Polaroid Project Mark Klett, Contemplating the view at Muley Point, Utah, 1994, 1994

Polaroid Project Mark Klett, Contemplating the view at Muley Point, Utah, 1994

The Polaroid Project leads us through this story via a series of essays that look for example at Polaroid’s foundation and history, the development of the technology, artistic developments and its relation to social networks and the selfie. They are interspersed with an impressive array of widely varied imagery with plenty of ‘how on earth did they do that?’ moments.

Polaroid Project Victor Landweber, Garbage Candy, 1979

Polaroid Project Victor Landweber, Garbage Candy, 1979

The book is subtitled ‘At the intersection of Art and Technology’ and it is published to accompany a major touring exhibition, so it is not surprising to see that text and  illustrations are geared towards the artistic. Perhaps a future show and accompanying volume can show what the public, as well as industry and business, created with the technology – but that’s yet another story.

Polaroid Project Ellen Carey, Pulls (CMY), 1997

Polaroid Project Ellen Carey, Pulls (CMY), 1997

There is a frequent lament here to the death of Polaroid, tied to the winding up of the company and closure of the factories, but, as with vinyl, this seems hugely premature. Instant film lives on in Fuji and Impossible, as does the use of Land’s cameras. The Polaroid Project itself shows us that interest in this technology and its uniquely ‘authentic’ aesthetic is increasing, whilst here at CELLOPHANELAND* we even have a couple of cameras of our own and Polaroids pinned on the wall. The king is dead – long live the king!

The Polaroid Project: At the Intersection of Art and Technology ed. William Ewing and Barbara Hitchcock, published by Thames & Hudson. To purchase (currently at a 20% discount) visit www.thamesandhudson.com

A touring exhibition organised by the Foundation for the Exhibition of Photography opens at the Amon Carter Museum, Fort Worth, Texas June 3 to 3 September 2017 then travels to Europe. fep-photo.org/exhibition/polaroid/

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