2 July 2016 § Leave a comment
This review is also posted in arts & culture magazine CELLOPHANELAND here
There is probably little point in making any sort of critical analysis of the latest Royal Academy Summer Exhibition. It is what it is, which to be honest is rather a mess. Pretty much every gallery is hung by a different curator and whilst it is interesting to see what they have done it is ultimately beside the point.
The whole show should rather be taken more at face value – an annual opportunity for the talented, enthusiastic, amateurish and hopeful to apply to have their work on the walls of the academy. Here they can rub shoulders with the latest pieces from the Royal Academicians in a gloriously anarchic jumble.
This years ‘co-ordinator’ is the sculptor Richard Wilson best known for 20:50 – the oil filled installation at the Saatchi. He has invited twenty artistic duos to present their work within this years exhibition. We therefore have Gilbert & George with Beard Aware and Jane & Louise Wilson in the lobby stairwell with Chernobyl.
There are other obvious duos like Jake & Dinos Chapman, Eva & Adele, Allora & Calzadilla, Bernd & Hilla Becher and Tim Noble & Sue Webster. Their presence however serves no real curatorial purpose and they are lost within the show – at best it is simply of interest to see some of their work.
Almost all of the pieces are of course for sale and it is quite a good opportunity to pick some work for your own walls. Prices of course vary considerably from a few hundred to a few hundred thousand, and for the uninitiated it is not always easy to spot the difference!
For the first time the works are available to browse and buy online and we would highly recommend taking a look online before the show and before purchasing (link here).
For our part we loved a little George Shaw edition (we highly recommend his National Gallery exhibition reviewed here) , Marguerite Horner’s enigmatic painted landscapes and Tom Hunter’s Rose prize-winning photograph Winterville. Harry Hill had one of his witty celebrity-oriented works – a tattooed David Beckham (sold but we hear High House Gallery has work available).
With rather more to spend Gert & Uwe Tobias’ had two spectacular works and there was a bright Gillian Ayres, which all seemed reasonable value despite the big ticket prices as did Rose Wylie’s Spider, Frog & Bird.
The floor to ceiling ‘salon’ hang – which is the norm at the Summer Exhibition – makes for difficult viewing, but it is not often that so much (varied) talent is on view at the same time. Take it slowly and concentrate on works that catch your eye – we have posted a selection of those that caught ours – and you may just have a very enjoyable visit.
The RA Summer Exhibition runs until 16 August 2016
For more information visit www.royalacademy.org.uk
24 May 2014 § Leave a comment
To use an old cliche it seems like death was a great career move for the British sculptor Lynn Chadwick. Once acknowledged as a leader of a group of exciting young sculptors that included for example Reg Butler and Kenneth Armitage, and championed by renowned critic Herbert Read he was touted as a successor to the likes of Henry Moore and Barbara Hepworth. He enjoyed a burst of fame in the 1950’s that culminated in 1956 when he won the International Prize for Sculpture at the Venice Biennale but from that point onwards until his death, aged 88 in 2003, he was largely ignored by the art establishment and unknown by the British public. Until now.
He has enjoyed a recent and highly deserved renaissance, started by his retrospective in the Tate in 2003 and followed by a number of important galleries, that has led to a series of exhibitions this summer. Four of his works were recently installed in front of the RA and now Osborne Samuel May and Blain Southern are featuring extensive solo shows. In addition there are also exhibitions this summer in Berlin and New York.
Blain Southern‘s impressive new Hanover Square space is an ideal venue to enjoy a range of seminal bronzes from the 1950s and 1960s, amongst them Teddy Boy & Girl (1955) – one of the works that earned Chadwick the International Sculpture Prize at the Venice Biennale in 1956 – as well as the monumental Stranger III (1959). These, along with Beast XVI (1959), Black Beast (1960) and Moon of Alabama (1957), serve to illustrate not only Chadwick’s unerring interest in human and animal forms, but the mainstay of his artistic practice; the manner in which he blurred the lines between figuration and abstraction.
Existential angst and despair is his favoured theme. There are howling beasts and attenuated figures with jagged heads, torsos reminiscent of bat wings and spindly, insect-like legs but while Chadwick is best known for his bronze works on occasion also worked with other materials. His group of Formica on wood ‘Pyramid’ and ‘Split’ sculptures – clean geometric shapes produced in 1966 – are shown in the main galleries and are surprisingly fresh and modern. Downstairs a group of welded stainless steel beasts represents Chadwick’s late exploration of the medium of steel in the late 1980s and early 1990s.
Make sure to take the opportunity to view this impressive group of works but Chadwick’s new reputation doesn’t come cheap. It will set you back a cool £150k for one of the smaller works climbing to close to a £million for the larger ones. Enjoy the free entry and start saving!
Blain Southern until June 28
Alistair Sooke review in the Telegraph here.
Jackie Wollschläger review in the FT here.
Lynn Chadwick home website here.