The British Museum has a small print room, wait up on the third floor. You have to know where you are going or you would get distracted on the way up. I was there to see the Out of Australia - prints and drawings from Sydney Nolan to Rover Thomas.
Previously, the rains in London at 'flooded' out the museum with tourists and I could not get in. So I was determined to go. It proved well worth while and I wish I had gone sooner especially as there were connecting events that I had missed.
There was a wide range of work starting with the Angry Penguins through to the present including aboriginal prints. I was able to see some of Fred Williams work, whose work I knew from one or two paintings. These images were just as impressive, impressionist in their view of the landscape. The marks were stripped back to just squiggles, yet shimmering in the overall image is a landscape, muted colours might indicate where it is geographical.
As with a lot of Australian art, the styles and themes have taken time to travel. The cubism and surrealism of Albert Tucker. Yet, these artists do not slavish copy what has emerged from Europe or later the States, but used it as references to show their own Australian landscapes in this new style.
Running along side this exhibition was another called Basket and Belonging. Looking at aboriginal use of traditional skills of basket waving and how it relates to the culture of these people.
Monday, August 15, 2011
Monday, June 6, 2011
New Cartographies
This exhibition at the Cornerhouse in Manchester has finished. Even though it dominated all three of the floors, overall the number of exhibits on show felt light.
The theme of New Cartography was the line between Algeria, France and the UK. The galleries were split into three parts - movement, place and memory. The first dealt with migration both from and to Algeria and what it meant to be a person on the seas of the 20th century histories and tides. Place looked at what Algerian landscape is whether it is desert or urban.
There were three stunning large, colour and black & white photos of the Saharan landscape. You had a stony landscape, then a caravan of camels almost lost in the bleakness of white sand and the last, a typical desert theme of sands with rocky mountains dominating these shifting sea of sands.
Memory considered the places with unusual video and interviews discussing migrating back to Algeria or looking at container ships moving across the harbour. A witty comment on how trade historically would have been across the desert sands.
This exhibition was a subtle one and appearing slight. It still gives me reasons to think a bit more about it and find out about the artists who participated in this show. They are on my fringe of vision and give me, the opportunity to look into another world, but also out back into mine.
The theme of New Cartography was the line between Algeria, France and the UK. The galleries were split into three parts - movement, place and memory. The first dealt with migration both from and to Algeria and what it meant to be a person on the seas of the 20th century histories and tides. Place looked at what Algerian landscape is whether it is desert or urban.
There were three stunning large, colour and black & white photos of the Saharan landscape. You had a stony landscape, then a caravan of camels almost lost in the bleakness of white sand and the last, a typical desert theme of sands with rocky mountains dominating these shifting sea of sands.
Memory considered the places with unusual video and interviews discussing migrating back to Algeria or looking at container ships moving across the harbour. A witty comment on how trade historically would have been across the desert sands.
This exhibition was a subtle one and appearing slight. It still gives me reasons to think a bit more about it and find out about the artists who participated in this show. They are on my fringe of vision and give me, the opportunity to look into another world, but also out back into mine.
Monday, May 30, 2011
Barbara Hepworth
Barbara Hpeworth is one of the main pillar of British Sculpture during the mid part of the 20th century. The other being Henry Moore, both were born in Yorkshire and this shows in their work. The strange rocky outcrops and crags that litter the moors are ingrained in their pieces. Both these sculptors were compared and contrasted now and then. Whereas Moore's reputation has suffered as some of the other mainstream British artists, I would suggest that Barbara Hepworth's is growing stronger.
One of the results is the new art gallery in Wakefield dedicated to her work. I visited the new building this weekend, which was only its third week of opening and has already, it seemed that there was a large flow of people coming to view both the art and the gallery. This could be seen by the way all the car parks had been closed and buses laid on for a park and ride. The building is a series of blocks linked together and not very warming. The inside is better, maybe a little too harsh minimalist, but I rather liked the shape of the rooms. One of the odd things was the windows have been blocked off, so you had to walk around these obstructions to see the views, across the river.
There were two rooms dedicated to Wakefield's own collection of historical pictures and some of the town own artwork of the same period. I gave a wry smile where there was catalogue proclaiming an exhibition by Henry Moore was packing them in. This was to set the seen of art in the 30s and 40s with some of the other sculptors work who were contemporaries. There were a couple of 'lost' artists who had were working at the same time, but never developed as 'bigger names' or nor any little gems, but people who would have influenced her and Moore with their beginnings in Yorkshire.
Another room was dedicated to the marquettes that Hepworth worked on, uusually, I had only know the small pieces that had been worked on like Moore's or even some of the small Rodin ones. However, she usually worked in a full size and it was odd seeing some of these bronzes worked out in plaster. The rougher, yest white surfaces. The large winged form was pinned to the wall and another more horizontal, rectangular pieces looking like a 3d Mondrian painting.
Besides and other room showing more polished pieces of her work there were room showing a current sculptor called Eva Rothschild with a show called Hot Touch. Her work is fascinating, both clever and witting with its use of space and usual materials. Someone whose work I will be more interested in finding out about.
All in all another gallery to show of the work of both one of the UK's major artist and some of the contemporary works as well. Definitely worth another visit.
One of the results is the new art gallery in Wakefield dedicated to her work. I visited the new building this weekend, which was only its third week of opening and has already, it seemed that there was a large flow of people coming to view both the art and the gallery. This could be seen by the way all the car parks had been closed and buses laid on for a park and ride. The building is a series of blocks linked together and not very warming. The inside is better, maybe a little too harsh minimalist, but I rather liked the shape of the rooms. One of the odd things was the windows have been blocked off, so you had to walk around these obstructions to see the views, across the river.
There were two rooms dedicated to Wakefield's own collection of historical pictures and some of the town own artwork of the same period. I gave a wry smile where there was catalogue proclaiming an exhibition by Henry Moore was packing them in. This was to set the seen of art in the 30s and 40s with some of the other sculptors work who were contemporaries. There were a couple of 'lost' artists who had were working at the same time, but never developed as 'bigger names' or nor any little gems, but people who would have influenced her and Moore with their beginnings in Yorkshire.
Another room was dedicated to the marquettes that Hepworth worked on, uusually, I had only know the small pieces that had been worked on like Moore's or even some of the small Rodin ones. However, she usually worked in a full size and it was odd seeing some of these bronzes worked out in plaster. The rougher, yest white surfaces. The large winged form was pinned to the wall and another more horizontal, rectangular pieces looking like a 3d Mondrian painting.
Besides and other room showing more polished pieces of her work there were room showing a current sculptor called Eva Rothschild with a show called Hot Touch. Her work is fascinating, both clever and witting with its use of space and usual materials. Someone whose work I will be more interested in finding out about.
All in all another gallery to show of the work of both one of the UK's major artist and some of the contemporary works as well. Definitely worth another visit.
Monday, January 3, 2011
Going to Gauguin
At last, I managed to get to the Tate Modern major Gauguin exhibition and it was absolutely stunning. The rooms were laid out in thematic order, but also tried to show the chronolgy between the pieces, how ideas recurred or were altered. This is really a must see exhibition as it has been a good few years since any previous Gauguin exhibition, I think there was a Post Impressionist exhibition around 79/80s, when I was at college; one I missed as I was 'up north'.
Starting with self portraits, this was to show that Gauguin almost created this idea of a mystical artist shaman. Yet, this has been debunked by Waldemar Januszczak's documentary about Gauguin's life. There were some fantastic paintings, Gauguin's use of perspective to add people of objects in unusual viewpoints, showing his love of Japonisme that effected the majority of French and European paintings at the time.
I was impressed that there was two rooms putting Gauguin in context with the historical events and the places that he visited. Posters of the exhibitions, that he would of visited that fed the imagination. Some sketches showing how ideas developed or how he perceived of his own work, Christ in the garden of Gethsemane.
What always impresses is finding pictures that have not been reproduced or printed as iconic images. There were several in this exhibition, and then by placing them in context with more well known images. It made you re-consider these works. You can see how the images are worked, the shapes that carry a lot of the paintings, yet the differences in painting are not that great. It is simple. You can see the use of complimentary colours to offset the ideas and how they played through.
This exhibition is going to Washington this year and if you can go, then you must. As it shows a one of the greats in context of his own times and with his own pieces.
Starting with self portraits, this was to show that Gauguin almost created this idea of a mystical artist shaman. Yet, this has been debunked by Waldemar Januszczak's documentary about Gauguin's life. There were some fantastic paintings, Gauguin's use of perspective to add people of objects in unusual viewpoints, showing his love of Japonisme that effected the majority of French and European paintings at the time.
I was impressed that there was two rooms putting Gauguin in context with the historical events and the places that he visited. Posters of the exhibitions, that he would of visited that fed the imagination. Some sketches showing how ideas developed or how he perceived of his own work, Christ in the garden of Gethsemane.
What always impresses is finding pictures that have not been reproduced or printed as iconic images. There were several in this exhibition, and then by placing them in context with more well known images. It made you re-consider these works. You can see how the images are worked, the shapes that carry a lot of the paintings, yet the differences in painting are not that great. It is simple. You can see the use of complimentary colours to offset the ideas and how they played through.
This exhibition is going to Washington this year and if you can go, then you must. As it shows a one of the greats in context of his own times and with his own pieces.
Sunday, December 5, 2010
The Art of Cornwall
http://www.bbc.co.uk/iplayer/episode/b00wbn80/The_Art_of_Cornwall/
A good BBC programme giving a clear overview of how St Ives became the centre for Modernism in the UK over three decades. Some fascinating facts came out about the struggle between artists for dominance in the Artist exhibitions. I have only recently re-discovered Peter Lanyon, although I remember going to see some of his works in a private house in Newlyn. Little realising he had wandered over the same area of the Penwith peninsula I had been whilst down there.
Lanyon flying to see the landscape as a wholly different view and being able to synthesise all the elements to create an image of a 'place' rather than a 'landscape'. A picture needs to have elements that is not only a vivid image, but one underpinned by deeper roots. The presenter used one of Lanyon's famous pieces to show how it can be looked at several ways.
One of the other good things was that when Barbara Hepworth was mentioned, there was no reference to Henry Moore. As they are usually mentioned in the same breath.
A good BBC programme giving a clear overview of how St Ives became the centre for Modernism in the UK over three decades. Some fascinating facts came out about the struggle between artists for dominance in the Artist exhibitions. I have only recently re-discovered Peter Lanyon, although I remember going to see some of his works in a private house in Newlyn. Little realising he had wandered over the same area of the Penwith peninsula I had been whilst down there.
Lanyon flying to see the landscape as a wholly different view and being able to synthesise all the elements to create an image of a 'place' rather than a 'landscape'. A picture needs to have elements that is not only a vivid image, but one underpinned by deeper roots. The presenter used one of Lanyon's famous pieces to show how it can be looked at several ways.
One of the other good things was that when Barbara Hepworth was mentioned, there was no reference to Henry Moore. As they are usually mentioned in the same breath.
Wednesday, September 29, 2010
Paul Gaugin
Paul Gauguin is one of the great artist of the 19th century and the harbinger of the 20th century. I am lucky that there is to be a large retrospective of his work at the Tate Modern this autumn and I expect to be going some time. Due to the nature of this exhibition, it has generated several programmes and critical discussion about his work and of course, his life and times.
The BBC had a superb programme by Waldemar Januszczak- Gauguin -the Full Story. Originally, broadcast in 2003, it was a 2 hour tour-de-force covering from his early life in Peru through to Gauguin's grave in the South Pacific. By going through his life with the places he lived and showing paintings of his world. You gained a sense of the context for his paintings. The shift of colour from his more northern landscapes to the Breton and then beyond to the Pacific. Januszczak is a very good presenter and gives an enthusiasm to each work as well as informing and uncovering things that had been 'lost'.
Alastair Smart's article in the Telegraph puts the case for and against Gauguin. Both as an artist and as a person. The problem is that if you view history from your own period then you are judging by the criteria in some ways shaped by that point of history. The TV programme brought out this outsider's view of Gauguin being both outside of family, friends and culture. A French man brought up in Peru and then a global traveller. The case against him looks very strong from his own family and personal relationships viewpoint. Is this a case of his artistic passion superseding his other commitments, creating a narrative of the penniless creator who struggles until he is 'discovered'. Usually, after his death, so creating a myth of the lone prophet, the voice in the wilderness and whether he then became trapped in this myth partially of his own creation?
The BBC had a superb programme by Waldemar Januszczak- Gauguin -the Full Story. Originally, broadcast in 2003, it was a 2 hour tour-de-force covering from his early life in Peru through to Gauguin's grave in the South Pacific. By going through his life with the places he lived and showing paintings of his world. You gained a sense of the context for his paintings. The shift of colour from his more northern landscapes to the Breton and then beyond to the Pacific. Januszczak is a very good presenter and gives an enthusiasm to each work as well as informing and uncovering things that had been 'lost'.
Alastair Smart's article in the Telegraph puts the case for and against Gauguin. Both as an artist and as a person. The problem is that if you view history from your own period then you are judging by the criteria in some ways shaped by that point of history. The TV programme brought out this outsider's view of Gauguin being both outside of family, friends and culture. A French man brought up in Peru and then a global traveller. The case against him looks very strong from his own family and personal relationships viewpoint. Is this a case of his artistic passion superseding his other commitments, creating a narrative of the penniless creator who struggles until he is 'discovered'. Usually, after his death, so creating a myth of the lone prophet, the voice in the wilderness and whether he then became trapped in this myth partially of his own creation?
Tuesday, September 14, 2010
St David's Head
This photograph has been taken from Whitesands Bay, just below St David's head. It has been a place I have always come to, when visiting Pembrokeshire, whether researching Sutherland or a family holiday. I have always had it in my mind that that there is a picture here and have tried composite images to create the idea and picture, which looked OK and felt OK, but......
So I was some what amazed that this time, I quickly produced three sketches of the hill. First, a traditional - more interest in the composition of the picture, then a differing colouring, secondly, more an emotional response to the land. Thirdly, a sharper image in a large sketch book as I keep on being told not to draw across two pages, but A5 sketchbooks are easy to carry. On all of the images, I decided to leave out the sky colour as the white background left the image feeling more open.
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