5 September 2016 § Leave a comment
Think of a William Eggleston photograph and it most likely will not feature any people. He is celebrated for his experimental use of colour and the way that he sees complexity and beauty in the mundane and perhaps most likely you will recall simple slices of rural American life: a tangle of wires on a red ceiling, a child’s bike, a coke machine, old gas stations or simply a patch of wall.
Each of image has a deceptive simplicity and his groundbreaking style soon led to the solo show at the Museum of Modern Art, New York in 1976, considered a pivotal moment in the recognition of colour photography as a contemporary art form. Democratically photographing whatever is in front of him he claims not to seek depth or narrative. What you see is what you get. “I wanted to make a picture that could stand on its own, regardless of what it was a picture of.”
Perhaps this is largely true but in a stunning new exhibition that has targeted the portraits, that up to now have perhaps seemed a less important part of his work, and it turns out that quite often there is rather more to the story.
Gathering together a hundred works from throughout his carer this exhibition soon makes you realise that portraits often features friends, musicians, actors and his own family and relations. They provide a window in to his home life and also reveal for the first time the identities of many of the previously anonymous sitters.
In his earliest black and white images – we see a selection from between 1960 and 1965 – people were his primary subject. Seemly largely taken unawares they are people going about their daily life. It seems however that for example one was of his housekeeper, another his mother on her bed.
Once we realise the identities of many of these people and that that Eggleston is not the disinterested, impartial observer that we know from his street scenes we start to understand more about these his life, these people and their times.
An interest in the bars and nightclubs of Memphis brought about a stock of grainy documentary footage – shown here for the first time – and another surprising set of images. Entitled Nightclub Portraits these were taken with a bulky view camera, rather than his nimble Leica, and with the help of an assistant. Remarkably clear and colourful, formally posed shots that, other than the subjects, they look like they were taken yesterday.
There are plenty more gems here. A never before exhibited portrait of Dennis Hopper in his car is hung beside one of Eudora Welty (apparently executed in a matter of seconds).
Another perviously unseen image is that of Joe Strummer, beer in hand, watched by a fan in a Clockwork Orange T shirt. This is a juxtaposition that could look like a casual accident. Not here though. The punk maverick and Kubrick’s dystopian nightmare are deliberately and deftly placed side by side by Eggleston’s pin-sharp vision.
A red haired girl spread on the grass, is executed perfectly with focus only on the face and the camera in her hand. A supermarket worker is captured tidying trolleys, in golden light, shadow on wall and watched by a local shopper. A middle aged lady in a flowery dress swings on a garden seat adorned in equally gaudy fabric.
Eggleston is an artists so well known that perhaps we thought that we knew pretty much everything about him and his aesthetic. How wrong we were. This exhibition, with deep research and clever curation brings a significant understanding to one of the great photographers.
This post also appears on www.cellophaneland.com
2 September 2016 § Leave a comment
Each narrow cell in which we dwell
Is foul and dark latrine,
And the fetid breath of living Death
Chokes up each grated screen,
And all, but Lust, is turned to dust
In Humanity’s machine.
The Ballad of Reading Gaol, Oscar Wilde
For the very first time in its history, Reading Prison – formerly Gaol – has been opened to the public. The National Trust have teamed up with Artangel to allow visitors to tour the corridors and cells best known for incarcerating Oscar Wilde for two traumatic and life-changing years from 1895.
We visited on a warm summers day, with well-lit corridors and cell walls illuminated by bright shafts of sunlight. It was not the best time to experience anything of the misery that prisoners must have endured from the 1840’s right up until its surprisingly recent decommissioning in 2013, but it was not too difficult to imagine the hardships that were endured.
The core of the prison remains largely as it was built, in brick and cast iron, by George Gilbert Scott. As a renowned Victorian Gothic revival architect, he was chiefly associated with the design of churches and cathedrals, but was also architect of iconic buildings like the Midland Grand Hotel at St Pancras Station.
The influence of his church architecture can be seen in occasional gothic motifs and ceiling shapes that define the four brick-built wings. These are arranged in a (religiously influenced?) cross-shape so that the 19th century Governor could easily keep a beady eye on all four wings simultaneously from his central office area.
The prison chapel, most recently doubling as a sports hall, is suitably grand with high ceilings and leaded windows. It also features Oscar Wilde’s wooden cell door -carefully preserved it here stands monumentally atop a concrete plinth crafted to the exact dimensions of his cell. The space once had a sloping floor where the prisoners each had their own cubicle, banned from seeing or communicating with any other inmate. Total silence infact originally reigned throughout with prisoners locked 23 hours a day in single cells, banned from talking – or seeing – others and hooded when moved.
Those more dangerous or unruly were held in the handful of the ‘dark cells’ underground, isolated in the almost unimaginable privations of total darkness and silence. After taking showers in the adjacent area other prisoners were often given a two-minute taste of isolation as a, presumably fairly effective, warning of what would become them should they misbehave.
Wilde’s Cell A3.3 – actually now numbered A2.2 – can also be visited. Identical to every other it has enough space, just, for the single bed and desk that he was allowed. He managed to negotiate a supply of paper from a helpful warden – one sheet at a time – upon which he wrote the reflective De Profundis (From the Depths) – a letter to Bosie, Lord Alfred Douglas, the object of the reckless relationship that led to his eventual imprisonment. The brutal regime of Reading broke his will and contributed heavily to his early death.
Readings from De Profundis by, amongst others Patti Smith, Ralph Fiennes and Ben Whishaw will also take place, whilst writers including Ai Weiwei have also contributed letters that are on display in the cells.
Alongside the prison tours, arranged by the National Trust, is a very impressive exhibition of contemporary art. Organised by Artangel, who commission ‘art that challenges perceptions, surprises, inspires and wouldn’t be possible within the confines of a gallery.’ They have invited a formidable array of talent to produce work that reacts to the prison environment and its history.
Amongst many highlights are Robert Gober’s meticulously crafted sculptures – a waterfall within a black suit and a stream within the excavated floor of the prison, clearly expressing unfulfilled fantasies of freedom and nature.
Nan Goldin brings her raw and intimate portraits into an appropriately claustrophobic space. She occupies four cells with pieces including The Boy – a cell filled with images of a single male muse, that climb over walls and lay scattered on an iron bedstead,
Marlene Dumas has produced eight new canvases that include Wilde and Bosie as well as chronicling other troubled relationships such as between Jean Genet and two of his lovers and Pier Paolo Pasolini and his mother.
In the centre of the corridors you can help yourself to a free (yes free!) unlimited edition print by Felix Gonzales-Torres alongside cells where his curtains of dangling blue plastic beads (Untitled Water) cleverly subvert the entry to a couple of cells and a blue mirror (Untitled Fear) reflects a troubled interior.
Other thoughtful and interesting contributions come from great names like Wolfgang Tillmans, Richard Hamilton, Roni Horn, Steve McQueen and Doris Salcedo.
It is not often that architecture, culture, history, literature and contemporary art come together in a single event but here www have an exception collaboration between two giants of the arts and culture – the National Trust and Artangel, in a unique environment. They have created a wholly satisfying and integrated whole that should be most definitely experienced while it lasts.
HM Prison Reading is open for tours Friday 9 September – Saturday 29 October 2016
Artists and Writers by Artangel at Reading Prison run from 4 September to 30 October 2016
For more information visit www.artangel.org.uk
This article also appears in www.cellophaneland.com
12 July 2016 § Leave a comment
‘… fictions, stories and histories taking viewers on a series of voyages through time and space, drawing on Liverpool’s past, present and future’ – Liverpool Biennial Guide
If this summary makes this years Liverpool Biennial sound rather complicated, well, actually it is. And that is not all. When you add on exhibitions at the Tate, the John Moores Prize exhibition, Bloomberg Contemporaries and a whole series of fringe events that run alongside then it all becomes rather bewildering.
The aforementioned Biennial ‘voyages’ actually take the form of six ‘episodes’ namely: Ancient Greece, Chinatown, Children’s Episode, Monuments from the Future and Flashback.
The Tate is a good starting point for all this with a new vision of Ancient Greece. Reflecting on the neoclassical architecture throughout the city contemporary artists have been invited to exhibit alongside exhibits largely taken from the famous Blundell collection of Greek artefacts.
It is fine, but better is to visit the Tate’s other current exhibitions: the excellent Francis Bacon: Invisible Rooms which has been cleverly placed alongside Maria Lassnig – both using the body, often distorted, deformed, ageing or fragile.
Across town at the impressive redbrick Victorian Cains Brewery is a selection of episodes arranged around the hall and in to Andrea Angelidakis’ spiral Collider installation. In the centre is the film Dogsy Ma Bone from Marvin Gaye Chetwynd, made with local children over recent months and inspired by Betty Boop’s A Song A Day and Brecht’s Threepenny Opera. The whole looks rather like a student degree show although there are excellent individual works.
Around the corner at the Blade Factory is a highlight, a ‘Flashback’ from Mark Leckey. His film Dream English Kid draws on scraps of film, TV archive and ephemera, recreating events from his life between the seventies and nineties in a compelling dream-like sequence.
Another highlight was Lara Favaretto’s Momentary Monument: The Stone (2016) in Rhiwlas Street, Toxteth – a monument to destroyed community.
Two more ‘ Flashback’ artists are being exhibited at FACT. Lucy Beech’s new film Pharmakon shows downstairs whilst upstairs there are a series of interesting films and installations from Krzysztof Wodiczko, who has been working with the homeless and marginalised.
The Open Eye Gallery at Mann Island has devoted the downstairs gallery to Koki Tanaka’s ‘flashback’ revisiting of an 1985 protest march. It was not particularly gripping, but upstairs were a series of clever, witty and thought-provoking videos by Ramin Heirzadeh, Rokni Haerizadeh & Hesam Rehmanian.
Up at the historic and important ABC (scandalously being allowed to fall derelict) is a ‘Flashback’ – a rather ponderous film from Giraud & Siboni and a selection of sculptures. Better, and out of the biennial at the adjacent Walker, is the 2016 John Moores Painting Prize exhibition. Won by the likes of Peter Doig, Rose Wylie, Sir Peter Blake and John Hoyland the quality is, as expected, exceptional. Michael Simpson was this years winner of the £25,000 cheque.
Bloomberg’s New Contemporaries at the Bluecoat was rather disappointing, but at least the courtyard is a great place to relax with a coffee away from the hustle and bustle. Of the associate artists we particularly loved Lindsey Bull at the India Buildings.
Outside the biennial, as well as the Tate, Walker & Bluecoat why not try going a little farther? There are Sir Peter Blake’s Dazzle Ferry, Crosby Beach for Antony Gormley’s Another Place or the Lady Lever Art Gallery at Port Sunlight
Whilst the actual biennial ends up as rather a curatorial mess, it really does not matter that much. Ignore the rather muddled theme, just get out and about, explore the city and some great venues – in and out of the biennial. You are sure to find some surprising gems along the way.
Liverpool Biennial is at various venues until 16 October 2016
18 May 2016 § Leave a comment
This exhibition by Jeff Koons at Damien Hirst‘s new gallery brings together two titans of the commercial art world. Sitting at first and second place of the world’s wealthiest (Hirst usually pips a rapidly closing Koons) they also are head of lists of the most influential living artists.
There are plenty of parallels within their work too. Neither are strangers to the art of appropriation: Koons takes children inflatables and re-constructs them in gleaming painted aluminium, Hirst has enlarged a spastics society figure, Viagra pill and an anatomical model. How about something in a vitrine? Koons is happy to grab ‘ready-made’ basketballs or Hoovers, whilst Hirst takes perhaps severed cows heads, sharks, skulls or pills. All are presented as reflections on life, death, beauty and consumerism.
Linking them too is a mutual appreciation. Hirst has actually collected Koons’ work for over twelve years and has amassed a significant body of the artists work, some of which is being shown in the UK for the first time within this exhibition.
Koons is considered to be one of the most significant artists of the last fifty years and it is therefore quite astonishing to say that ‘Now’ is not only the first major UK exhibition to be devoted to the artist since ‘Jeff Koons: Popeye Series’, at the Serpentine in 2009 but the largest one to date. Spanning thirty-five years of the artist’s extraordinary career it features over thirty paintings, works on paper and sculptures dating from 1979 and including works from Inflatables, The New, Equilibrium, Luxury and Degradation, Made in Heaven, Popeye, and Hulk Elvis, amongst others.
The show begins with an early forerunner of one of Koons’ most enduring themes, the inflatable. Here we see a real inflatable in Flowers from 1979 – small flowers displayed on mirrored floor tiles. It is here presented alongside a number of his iconic Hoover sculptures from the early eighties – unused wall-mounted machines are displayed in acrylic boxes. Two of these Hoovers were actually included for Koons’s first solo show in New York 1980 and part of that installation – originally displayed in the museum’s storefront windows – has been reassembled for this exhibition.
These works show how Koons revels the everyday. Household goods to children toys and the kitsch are all readily employed in his approach to art, utilising mass market objects to communicate with the widest possible audience. The quotidien and fragile becomes monumental whist the ordinary is elevated to special.
There are plenty more of his recognisable works. The show continues with examples of his Total Equilibrium tanks where three basketballs are suspended in a vitrine of salt water – an allegory on unattainable states of being.
Further on a Jim Beam bourbon decanter of china and plastic has been rendered in aluminium. Said to be an “elegy to the age of steam and steel”, Koons’ said of this sculpture “I wanted to transform it and put it into a different metal but to preserve its soul, and that soul was the alcohol.”
We continue through most of the major series of Koons’ career. Ignoring the less interesting prints it is the sculptures that catch the eye – a five-metre high stainless steel Balloon Monkey in blue dating from 2013 occupies the whole of one of the side galleries. An inflatable dolphin and lobster dangle from the ceiling whist another lobster balances precariously on a chair and a bin. A seal and walrus are squeezed behind stack-away plastic seats.
The show culminates in the huge and impressive Play-Doh, a three-metre high mountain of brightly coloured kids plasticine, Surprisingly complex to construct it took Koons and his team over ten years to produce, the result so perfect that it is almost impossible to resist grabbing at the apparently squidgy material.
Only the second exhibition at the Newport Street Gallery space this is another highly impressive exhibition. It confirms that there is more to Koons than simply high kitsch and eye-catching sculptures. There is a strong emotional charge to the work too. We are caught in an irrational and surreal world of fakery, unsure what to make of the oversized objects, impossible poses and improbable materials. At its heart it is an uncanny and unsettling experience. A Night at the Museum is made real – the toys are taking over.
For more information visit the Newport Street Gallery
This post also appears on CELLOPHANLAND*
13 January 2016 § Leave a comment
Art Visionaries is the latest publication from Laurence King Publishing, specialists in publications on the creative arts. This handsome and substantial softcover carefully lists seventy five of the ‘most influential figures in the history of art’ with an admirable clarity. Each artist is introduced on a double spread with a full page illustration of a key work and then a few hundred words that attempts to explain both their significance and artistic lives.
The copy is well written and one can only admire the self control and skill required to abstract the life of say, Picasso, in to such a brief and highly readable summary. The writers manage to include snippets of interest and plenty of snappy quotes, useful even for those who may feel that they already know these artists well. “Nobody can own this project, nobody can buy the project, nobody can possess the project or charge for tickets” stated Christo & Jean-Claude, whilst Kasimir Malevich observed “I have dragged myself out of the rubbish pool of academic art“.
A further double page spread illustrates more key works with a useful graphic artistic timeline. The extra illustrated pages allocated to each artist are nice but perhaps a double-edged sword. Whilst allowing images of more than one key work it still cuts short a deeper analysis. As an example Gerhard Richter, not unusual as an artist who went through a number of styles in his lifetime, does not get any of his abstract works featured.
Although it is not immediately clear from either the cover, this is a list of 20th century artists. There is also an almost total absence of artists from China, Africa, Asia and Oceania, along with Native and Folk artists and, although not stated anywhere, this volume therefore represents ’western art’ only. Fine, but really this should be clear in the cover notes or introduction.
To me there was a bias towards American artists and with the exception of Frida Kahlo, Nam Jun Paik, Yayoi Kusama, Mona Hatoum and Gabriel Orozco the remaining entries being Western European and Russian. The Brits do not do so well either – Henry Moore, Francis Bacon and Andy Goldsworthy are the only ones other than Hirst and Whiteread in who make it in.
There were some tough choices at either end of the century. Gaugin & Cezanne for example probably died too early in the 20th century to deserve entry but it is harder with those like Munch, who was a key influence for the Fauvists, exhibited with them and worked until his death in 1944 but perhaps harshly does not find himself included. At the end of the century had the artists working in the 1990’s yet done enough?
It is of course a thankless task to condense a roll call of thousands down to any sort of ‘popularity contest’ and everyone will find some of their favourites excluded and will disagree with some of those included. There are difficult choices, Italian Futurist Filippo Marinetti is featured but Vorticist Wyndham Lewis misses out. Unforgivably Max Ernst doesn’t feature and neither do Man Ray, Kurt Schwitters or John Baldessari – all true visionaries, whilst a number of mediocre but worthy artists are included. Personally I could have done without Rachel Whiteread, Mona Hatoum, Anish Kapoor, Jeff Wall and Sophie Calle. Richard Long is surely better than Andy Goldsworthy and aren’t other Arte Povera artists more deserving than Alighiero Boetti.
Interestingly, other than on the cover there is no mention of ’Visionaries’. This is quite a powerful word and implies rather more than a list of big name artists from a specific era. A typical relevant definition is ‘a person with the ability to imagine how a country, society, industry etc will develop in the future’. If that was the case with any of the included artists it was neither evident or elucidated by the text. Despite discovering the fact that the book is actually part of the publishers ‘Visionaries‘ series (Architects, Design, Photography etc that are strangely not mentioned anywhere in the book) the impression is left that the title does not represent any sort of driving force behind the selection process.
Even if Art Visionaries could have been something more – perhaps a more detailed analysis of those artists like Picasso, Duchamp and Beuys who could have been perhaps considered as most ‘visionary’ – this is nevertheless an excellent, highly enjoyable and nicely designed volume well worth a place on your bookshelf.
For more information visit Laurence King Publishing
9 January 2016 § Leave a comment
Our historic – and largely still current – curatorial approach to archaeological and artistic objects has been to divide and classify, to separate and categorise. This has its advantages, but those institutions like the Pitt Rivers Museum in Oxford where form is privileged over origin, and Tate Modern where there is a thematic approach, show that alternative strategies can be worthwhile.
By listing artworks without prejudice to civilisations, geographical location, art movements or other artificial categories it takes away the inherent divisiveness of categorisation to allow some remarkable comparisons and invites us to consider links where we had not seen them previously.
30,000 Years of Art does note a basic classification, e.g. Post-impressionism or Nasca Culture plus a geographical location, but these play second fiddle to a straightforward chronological listing. We therefore find that sharing double page spreads may be Arabic scripts and Chinese brush paintings, the Venus de Milo and a Mayan mural or a Mexican mask and an Ethiopian stele.
It is in this removal of all art historical classifications and hierarchies that to us is 30,000 Years of Art main achievement. By presenting a thousand masterworks in chronological order it shows what was being created all over the globe at approximately the same time.
The result is a remarkable insight into the interrelationships between seemingly unrelated cultures and civilisations as well as celebrating the diversity between those that may be considered similar. The resulting timeline of works leads to compelling browsing with the juxtapositions offering intellectual pleasure and a sense of wonder and discovery.
This is a book that can be a real coffee table book to be dipped in to and enjoyed at leisure, the entries simply and clearly written and easily understood. It can be usefully read chronologically or utilised as a vital reference book taking the reader on a global and historical journey, as a Chinese Shang urn stands next to a Mycenaean vase, and Michelangelo’s Slave is followed by a contemporaneous male sculpture from Nigeria.
As a research or reference book it would also be useful alongside more comprehensive texts with the arrangement responding to such questions as what were artists creating in China or Africa while Rembrandt was painting self-portraits in Leyden? How were similar subjects – the female form, landscapes, religious scenes – manipulated by artists in Han China or Medieval Europe?
Although the sequence is chronological, the selection of entries for an individual culture comprises an abbreviated history of the art of that people. Thus, while artworks from ancient Greece or the European Renaissance or pre-Columbian Americas are interspersed with contemporaneous works created in Africa, India or Japan, an extraction of the Greek or Renaissance or American works could stand alone as an essential summary of the finest art of that period or culture.
This is a volume that will deserve repeated use and surely is a compelling addition to any collection – or coffee table. Highly recommended.
For more information visit www.phaidon.com
- 30,0000 Years of Art
- 297 x 297 mm, 11 3/4 x 11 3/4 in
- 1064 pp
- 1,000 colour illustrations
- ISBN-13: 9780714847894
9 January 2016 § Leave a comment
One of the most unfortunate aspects of the decline of the album, and to some extents the CD, has been the loss of the potential space for sleeve artwork. With the rise of vinyl sales during the last century, the artistic potential of the sleeves was not lost on the very best artists and photographers of the period, and many became involved contributing to a very memorable, if narrow, artistic genre.
Remember the great original Warhol covers for the Stones’ zippered Sticky Fingers and the banana for The Velvet Underground & Nico? The Beatles were of course involved too, with the Peter Blake photograph (not a collage by the way) for Sgt Peppers.
The Beatles drew in other Pop artists – Richard Hamilton made his minimalist statement for the ‘White Album’ whilst for David Bowie, Derek Boshier created the striking Lodger designs.
Top photographers were there too. Robert Mapplethorpe’s image of Patti Smith provided the iconic cover for Horses, Richard Avedon took Simon & Garfunkel’s picture for Bookends and – here’s a little known nugget – Man Ray created a photo collage for Exile on Main Street (below), sadly unused.
This is to barely touch the surface of the phenomenon of album art, something that we thought had gone forever with the apparent demise of vinyl in the 1990’s. Fortunately the death of the album had been greatly exaggerated and sales are now booming again.
With this resurgence comes a new generation of album artists, designers, prize and inevitably, an awards ceremony. Art Vinyl have a competition that is actually now in its 10th year, with this year’s fifty nominations selected by a panel of music design experts and previous Best Art Vinyl Award winners. In co-operation with Belgraves Hotel they have just revealed the 2015 winners.
David Gilmour’s ‘Rattle That Lock’ album took the top prize with Drenge’s ‘Undertow’ second, and Tame Impala’s ‘Currents’ third. The winners and all of the shortlisted entries are now on display in the window at Belgraves until the end of April.
The artwork covered a wide range of creative disciplines, including fine art, photography, sculpture and computer graphics. Given the august history of album artwork we perhaps should not be surprised that the short list also included two Turner Prize nominees, Mark Wallinger and Jim Lambie (for Linden).
David Gilmour’s wining cover was created by The Creative Corporation, in collaboration with Aubrey Powell from the legendary Hipgnosis – a design studio that produced covers for the likes of Pink Floyd, Led Zeppelin and T Rex.
Best Art Vinyl founder Andrew Heeps explains, “This is the first year such an established artist’s record has won Best Art Vinyl, but notably the design team have historically been responsible for so many iconic sleeve designs… It’s interesting that two of the top three are conceptual compositions, using photography as the core of the design.”
In January 2016, the winners of the Best Art Vinyl 2015 award will feature in exhibitions in London, Scotland, Italy, Germany and Hungary as well as on www.artvinyl.com.
You can check out the entries on www.artvinyl.com or visit the window installation at the Belgraves Hotel, London Belgravia from 7th Jan 2016
For more information and the 50 nominated Best Art Vinyl 2015 records with designer credits see Artvinyl.com