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
19 November 2015 § Leave a comment
Pop art is very much alive and kicking. The World Goes Pop is currently at the Tate following on the heels of Post Pop: East Meets West at the Saatchi Gallery, the BBC ran a recent series BBC Four Goes Pop, Allen Jones was at the Royal Academy and Richard Hamilton had a solo show at the Tate last year. That is not even to mention continuing interest in other artists like David Hockney on the edges of the movement.
Maybe it is because we are bored of the self referential world of post-modernism or perhaps there is a recognition of the present day relevance of the movement as we fight off an ever increasing barrage of media imagery. It could well be that Pop Art turns out to be modern art’s most influential movement, parodying all this mass media imagery whilst creating a startlingly prescient take on the world of today: the age of consumerism.
Within this apparent surge of interest the work of Derek Boshier has found a new lease of life. Recently featured on BBC4’s ‘What do artists do all day’ (a series that also featured Sir Peter Blake) he now has a solo show at Flowers Gallery which also coincides with the release of an excellent Thames & Hudson monograph (reviewed here).
The Rethink/ Re-entry exhibition features a fascinating range of rarely seen pieces, much from Boshier’s own collection whilst surveying the shifting emphasis of his art in the late sixties and early seventies. It re-examines his work of the period via the extraordinary variety of his practice – assemblages, collages, drawings, films, graphics and prints alongside more recent films and collages.
In thé ground floor gallery we see the sharp political edge of his work in works like The Stun (1979), a spoof tabloid front page bringing together the Queen and Irish Violence with an incisive wit. Meanwhile in Hi Consumers Don’t Forget Nothing Lasts Forever (1978) Boshier takes a wry shot at consumer culture.
Three perspex vitrines take a more conceptual angle and have a distinctly affinity with John Baldessari works of that time. King George V Avenue Cardiff from 1971 for example features a series of red circles and black columns lined in perspective along a found image of a broad street.
Boshier’s provocative and experimental approach was reflected within the gathering punk movement and also appreciated by David Bowie who commissioned him to work on LP sleeves, as well as stage set design. Featuring both on walls and vitrines are original drawings from Boshier’s collaborations with The Clash on graphics for the CLASH 2nd Songbook, and with Bowie for the 1979 album Lodger. He happily told Boshier ‘do what you like’ for the interior of the gatefold sleeve; Boshier obliged with a collage on mortality that Bowie loved.
His versatility continues with a neat Joseph Cornell style box from 1976, State of Mind, that makes a statement both on consumerism and politics combining a toiletry bottle and newspaper cutting featuring strikers.
Downstairs three series of photographed images are a different take on Hockney’s photo collages and Ed Ruscha’s Every Building on the Sunset Strip. From his 1978 Routes series a sequential strip of images introduce time as an element as the camera’s lens takes a ‘stroll’ at three different locations.
In yet another media, film, Boshier’s 1973 Change is also showing, along with three more from 2014. In Change Boshier spliced sequences of still images from an installation at his Whitechapel Gallery retrospective of the same year. It remained unopened for 38 years, until its recent rediscovery provoked his desire to create new films using contemporary digital technologies.
Last but not least are four collaged works from 2014, each edged with his trademark broad black lines.
They look effortless and Boshier reminds us that his talent for drawing, eye for design as well as his desire to make works politically relevant are all still as strong as ever. He remains an important figure not only in the story of Pop Art but also in the contemporary art world.
For more information visit www.flowersgallery.com
Images courtesy of the artist, Flowers Gallery and CELLOPHANELAND*
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
19 July 2011 § 1 Comment
Is this Saatchi sculptural review really the Shape of Things to Come? One of the first things you notice is that it may well be a better picture of ‘How Things are Now’ or perhaps ‘Have Been Recently’ with only a handful of works less than about four years old. There also seem to be fewer new names than there are well known or long-established ones.
Amongst the latter is John Baldessari his Beethoven’s Trumpet probably, neatly adding sound to the visual puzzle. Roger Hiorns was a Turner nominee, here using trademark copper sulphate crystal growths growing over church maquettes to experiment with natural sculptural forms. The German Anselm Reyle examines influences of modernism and here has appropriated a kitsch African sculpture and blown it up with a shiny purple finish. Deep in the basement Richard Wilson’s 20:50 – a pool of sump oil which reflects and expands on the architectural space – still beats the lot.
The big spaces of the gallery work best for the larger works and in the first gallery the monolithic blocks of Kris Martin’s Summit work well. Each has a tiny paper cross at the summit – death, hope or achievement? Moving on ‘New Sculpture’ still seems to have plenty of the figurative. Rebecca Warren‘s rough representations of the female form take aim at sculptural cliches and fill another gallery nicely. David Altmejd large-scale figures seem to dissolve and change form as you walk around them. Non-traditional elements are woven in to the figures such as endless staircases and strange geometric forms whilst materials include, foam, wood, epoxy, resin and paint. Folkert de Jongh’s tableaux feature macabre figures and hint at the ghosts of colonialism and imperialism. Thomas Houseago is a recent auction favourite – filling another gallery his impressive works absorb a variety of styles with rough, flat painted planes building up 3D forms and sshowing a definite debt to cubism.
Elsewhere Bjorn Dahlem‘s room-sized Milky Way is an impressive neon which surely owes a big debt to Dan Flavin whilst David Batchelor appropriates found boxes for his strangely alluring installations of vivid coloured panels. Matthew Bannon, Matthew Monahan, Joanna Malinkowsa and other assemble various multiple objects with varying degrees of success.
Sculpture has certainly come a long way in the last hundred years – from wood, metal and stone there is a now a vast post-modern array of materials and influences to confuse us. So do we get any sort of hint here as to what is the Shape of Things to Come? This show certainly does not show us – but hints at the reality – that we simply dont know.
The Shape of Things To Come: New Sculpture at the Saatchi Gallery 10-6 daily until 17 October 2011
- The Shape of Things to Come, Saatchi Gallery / John Chamberlain, Gagosian Gallery, review (telegraph.co.uk)
- Roger Hiorns: using a calf’s brain in my sculpture (telegraph.co.uk)
- The Shape of Things to Come – in pictures (independent.co.uk)
- New Saatchi exhibition: Shape of Things to Come (telegraph.co.uk)
1 July 2011 § Leave a comment
An astonishing 4.3 million (myown total from Sothebys gross results) – around double auction estimates – was raised this afternoon for the upcoming extension to the Serpentine gallery. Forty-six top contemporary artists including the likes of John Baldessari, Olafur Eliasson, Fischli & Weiss, Antony Gormley, Jeff Koons, Yayoi Kusama and Rachel Whiteread had generously donated works to be auctioned alongside Sothebys contemporary art day sale.
Apparently the new space is to be called the Serpentine Sackler Gallery and will be located in Kensington Gardens, a short distance from the current gallery which lies close to the Serpentine in Hyde Park. It is due to open in 2012, and will be renovated and designed by Pritzker-Prize winning architect Zaha Hadid. The plans include an adjoining pavilion to be used as a social space and restaurant.
If it is anywhere near as good as the Serpentine has been over recent years at presenting interesting exhibitions of contemporary art it will be a great new addition to London’s art world. I am looking forward to the opening – oh, and any invitations to the opening party most welcome!
- The Serpentine Gallery Summer party-who wore what (heatworld.com)