Still Life (New Year’s Day) 1 January 2019
What art have I seen?Marina Abramović – The Cleaner
Marina Abramović’s The Cleaner at Palazzo Strozzi.
https://www.palazzostrozzi.org/mostre/marina-abramovic-2/?lang=en
Career survey including all the well known pieces some being reperformed. Really powerful pieces. Not everyone enjoyed it – some thought it was pretentious. Some channelling of the AAA-AAA
Audiences and … pt2
Another piece of writing that has stayed with me comes from Matt Baker, Orchestrator at The Stove in Dumfries. In 2010 he wrote a piece entitled ‘A serious attempt to unravel public art’ about how all public art needs a door. He expressed it more elegantly. Read it here. And there is a pdf Sacrificial Materials: A serious attempt to unravel public art (deep breath).
Audiences and… pt1
I had an interesting conversation recently. Someone said to me. “I get irritated when I ask an artist how they think the viewer of the work will respond to something they are working on. They often say that they are making the work for themselves. When I ask them whether they want people to see the work, they say Of course. When I ask them who, they say People.” We are here talking about studio based work, work that is made and then shown, but this brings up larger issues.
And there is a truth that anyone making work in a studio in the end is making something to a personal agenda. And neither of us were thinking that making art was a form of marketing where a clear sense of the intended audience, segmented and analysed, was central to the process. Working in public places is almost always a negotiation.
So I’m going to be exploring this question, drawing attention to writing that I think helps address the question, “What is the relationship between the artist and the audience, participant, collaborator, co-creator, etc?” There will be a series of posts and they’ll all have the Title “Artists and…” Some may just be links to other pieces of writing – where relevant I’ll provide pdfs too.
The first is from Anne Douglas’ forthcoming publication in the Connected Communities Series for Policy Press.
Anne recently wrote, speaking of Allan Kaprow and John Cage,
…they shared the question of where creativity begins and ends – with the composer, with the performer and/or with the audience? This shift in the power of creative agency is poignantly evidenced at this early stage in Cage’s 4’33” (1952). The performer sits at the grand piano but does not play it. Instead the ritual of a classical performance frames ambient sound creating an environment that is sensory and, importantly, draws the audience, performer and composition together in a shared space connected through listening. The conventional hierarchy in which the (active) composer generates material that the performer (as mediator) realises to a (passive) audience gives way to new configuration. The listener, who could be composer or performer or a member of the audience, becomes the creator of his/her own singular experience of sound.
Douglas, A. 2019 Redistributing Power? A Poetics of Participation in Contemporary Arts. Bristol: Polity Press.
You can download the book from the Connected Communities website
What art have I seen? Rasheed Araeen
Retrospective at the Baltic of Rasheed Araeen – member of the Black Panthers, Artists for Democracy and founder of Third Text.
What art have I seen? Spellbound
The Spellbound: Magic, Ritual & Witchcraft exhibition at the Ashmolean Museum in Oxford is really very problematic. It seems to be both parochial and also evade the deeper issues.
The exhibition contains a wide range of material culture from spell books and equipment through troves of clothing and shoes found secreted in houses, paintings and prints representing witchcraft and devilry, as well as some contemporary art which ‘channels’ the theme.
On the parochial front it seems to focus wholly on the southern half of mainland Britain, not address Scotland at all (Tam O’Shanter?), nor the North of England, nor Salem in Massachusetts, nor Norway, nor Africa… the view of the subject we are left with is very geographically specific – not that there is anything wrong with that, except I’m left wondering if that’s accurate? After all one of the most compelling objects is a South American object – an obsidian mirror apparently owned by John Dee. What other connections are there?
But on the evasion of deeper issues, the criticism is more fundamental. There are references to patriarchy and witch trials. There is a chair designed to test whether a witch is heavier or lighter than a church bible (lighter and you are a witch). But there seemed to be no contextual discussion on what shifts in the cultures of Europe and North America in the 17th Century such that women suddenly start being burnt for witchcraft. Not all witches are women and not all ritual and magic is associated with women, but women become the focus of violence and the exhibition could have enlightened us. Rather it left us with an idea of the various aspects of the practice, but no larger understanding.
What art have I seen? Santiago Sierra and Mike Kelly
Santiago Sierra’s Black Flag and Mike Kelly’s Mobile Homestead at DCA
http://www.dca.org.uk/whats-on/event/santiago-sierra-black-flag
What art have I seen? Artes Mundi 8
Artes Mundi at the National Museum of Wales, Cardiff https://museum.wales/cardiff/whatson/10264/Artes-Mundi-8/
What art have I seen? I Object: Ian Hislop’s Search for Dissent
Very good, diverse and provocative exhibition of satire, caricature and disruptive intervention (and not all lefty liberal either).
From the time of the Pharohs in Egypt through to the Umbrella protests in Hong Kong via classic British fart-based disrespect of leaders and rulers.
Taking Joanna Macy’s triumverate of ‘actions to defend,’ ‘Gaian structures’ and ‘shifting consciousness’ this is pretty much a workbook of ways to undermine authority.
It shows the breadth of the BM’s collection but also perhaps shows that this isn’t a focus of collecting. Hong Kong and Tianamen Square are represented but Occupy isn’t – the diagram created by Rachel Schragis of the Declaration of Occupy Wall Street would speak volumes.
Possil Free State, Greenham Common, Twyford Down, Faslane, the ZAD, Standing Rock and all the other combinations of defending and Gaian structures are insufficiently represented.
Perhaps the Liberate Tate/Art not Oil campaign is too close to home: the parallel Sumerian exhibition is sponsored by BP.
Of course out of context pretty much everything needed explanation, but there were many objects which stood out regardless, including the bronze head of a Roman General buried under a triumphal gate deep in Africa beyond the Empire.
In other cases you had to spot the critique including in the Seychelles banknotes where the engraver had included rude words around the head of the Queen.
http://www.britishmuseum.org/whats_on/exhibitions/i_object.aspx
What art have I seen? Colourists and Life School
Beth Fisher’s astounding and inspired drawing of her family with her dead mother. Just one of a number of powerful pieces in Ages of Wonder: The Royal Scottish Academy Life School
Also The Rhythm of Light
Scottish Colourists from the Fleming Collection
What art have I seen? Christo and Jeanne-Claude
Went to see the Mastaba and associated exhibition again.
What art have I seen? Keith Sonnier
Keith Sonnier’s Until Today at The Parrish.
Also Barthélémy Toguo‘s work resulting from his residency at The Watermill Centre.
What art have I seen? Prada Marfa
Elmgreen and Dragset’s Prada Marfa. So gentrification… it’s definitely a thing. Art definitely can cause it. We saw a small tract house for sale – sign said Zoned for Residential/Commercial inc Art Gallery. The art workers we met (eg part-time tour guide with two art history degrees/full-time chef) were struggling to survive housing costs in Marfa. Of course we can be ironic about it, but what else can we do?
What art have I seen? Chinati Foundation
What should a museum be when made by an artist?
The artist decides where and how the work is installed (in agreement with the artist who set up the museum).
Works do not compete with each other.
Work is (almost exclusively) permanently installed.
The work is well documented but there are no signs and labels (except where they are part of the work).
What art have I seen? The Block
Studios and Libraries in The Block, Judd Foundation.
20th Century Books organised by date of publication (or author birth maybe).
Books before 20th Century organised by geography.
Studio contains work for thinking.
What art have I seen? Blue Star Contemporary
A Manhattan Beach Memoir by Gary Sweeney. Family home going to be demolished so turned inside out, becoming an installation, a tribute and an evocation of America in the second half of the 20th Century.
From Underfoot: Breaking Through Surface and Ground. Group show of materials, concepts, details.
What art have I seen? Assemblages: Sculpture, Found Objects and Boxed Reliefs
Assemblages: Sculpture, Found Objects and Boxed Reliefs at the Fine Art Society, Edinburgh including work by Fiona Dean, Will Maclean, Alberto Morocco amongst others. Did the latter influence the former?
Why we should learn to embrace failure | Elizabeth Day | Life and style | The Guardian
Gender issues, narratives of failure, resilience and opportunity
What art have I seen? Land of Lads, Land of Lashes
Rosemarie Castoro, Land of Lashes, archival photo, 1976
Land of Lads, Land of Lashes at Galerie Thaddeus Ropac. Rosmarie Castoro, Wanda Czelkowska, Lydia Okumura. Three different contexts (NYC, Poland, Brazil). Deep formal sculptural concerns bringing in expressionist, minimalist, humorous, bodily aspects. Interesting in comparison to Lee Lozano – the catalogue of the recent retrospective of Castoro suggests similar interest in lists, instructions and texts. Okumura’s spatial works relate to Sol Lewitt but also to Fred Sandback and are more dynamic than Lozano’s large paintings.
What art have I seen? More Christo drawings and collages
More Christo and Jeanne-Claude, this time at Repetto Gallery. Drawings are all attributed to Christo, though the installed projects are Christo & Jeanne-Claude. One public installation in the Serpentine Lake, one public exhibition at the Serpentine Gallery, two commerical gallery exhibitions simultaneously (Stern Pissarro and Repetto).
I hadn’t realised before that some of the drawings are collages including fabric and string. In particular Wrapped Wall has fabric stapled to the image which is then drawn on, so some of the creases are ‘real’ and some inscribed – remarkable. The more you look at these works, the more they give you.
You can see in the 1976 The Pont Neuf Wrapped collage below that there is fabric inserted into the image – the media are listed as “Pencil, fabric, twine, photograph by Wolfgang Volz, wax crayon, pastel, charcoal and map.”
What art have I seen? Seeing Beyond The Immediate by Patricia Cain
Grass Verge, Oil Pastel
Trish Cain’s exhibition Seeing Beyond The Immediate at the Lillie Art Gallery in Milngavie
What art have I seen? Mastaba by Christo & Jeanne-Claude
The Mastaba on the Serpentine, works related to barrels in the Gallery, other works at Stern Pissarro.
Curiously the Mastaba floating on the lake is more like the 2D works in the Gallery than you expect – it has an unreal quality, perhaps because of the formal geometry and the colour too. All the earlier proposals going back to the late 60s are yellow, red and orange, but this is maroon and purple. Maybe more complementary to the greenness of Hyde Park?
There is definitely a Dada streak in this, the absurdity of this large form, just as there is a Dadaism in wrapping things.
Mies van der Rohe said art addresses the conditions of the time – his were industrialisation and mass production. Christo and Jeanne Claude’s work has a curious relation both to industrial and post-industrialisation, but the temporariness – here now, gone in September – reveals more. Temporary abnormality sensitises us to the normal.
Christo clearly denies any political intent but this monumental structure composed of oil barrels is a reminder of our, as Brett Bloom calls it, petro-subjectivity.
What art have I seen? David Nash
The blue of Blue Column (2017) is so intense it vibrates on the page
The red of the sequoia wood in Red Around Black (2017) is so dense it could be corten steel
What art have I seen? Robert Callender
Robert Callender at the City Art Centre, Edinburgh
Boyle Family? Arte Povera? Mark Rothko?
What art have I seen? Re(a)d Bed
James Pryde, ‘The Red Bed’ (1916)
One of the challenges in creating work for hospitals and healthcentres is that there really isn’t any place to experiment.
If you want to in some way engage with our health and the institutions which deal with us when we are sick, pretty much regardless of artform, it is tricky. Quite rightly healthcare professionals control access. Hospitals aren’t really places for experimentation. You probably ought to know what you are doing if you are going to make art in places where people are sick, recovering or dying.
So the exhibition Re(a)d Bed in Edinburgh’s City Arts Centre is an important correlate to the major Art and Therapeutic Design programme currently being installed and otherwise integrated into NHS Lothian’s new Royal Hospital for Children and Young People, Department of Clinical Neuroscience and Child and Adolescent Mental Health Services in Little France, Edinburgh.
The works in the exhibition are the result of residencies and fellowships intended to provide developmental opportunities for artists to explore issues and create new and challenging responses to in particular the neurosciences context. Key to this programme has been the partnership between Ginkgo Projects, public art and design managers, and New Media Scotland/Alt-W. The exhibition comprises both some historical items as well as new works by artists, craftspeople and designers. Full documentation can be found on the New Media Scotland site here. Gavin Inglis’ in progress graphic novel exploring functional neurological disorders, Stacy Hunter’s questioning the depersonalisation of the clinical environment, asking what objects could make it more personal again, Sven Werner’s audio work on becoming invisible… These and the others are all important vectors through healthcare experiences and environments, experiments that need to be done, ideas that need to be tested and prototyped.
Beyond Walls provides more information and regular updates.
What art have I seen? Positive Geographies
John Blackwood and Svetlana Popova talking about Liminal engaged in the discourse of Aberdeen and the last bathhouse in Berlin.
What art have I seen? Beuys Utopia at the Stag Monuments
Joseph Beuys: Utopia at the Stag Monuments at Galerie Thaddeus Ropac.
So what is the difference between Kienholz and Beuys? Both are constructing with everyday materials including furniture and other stuff selected for symbolic import. Both are speaking to the social. Kienholz’ Nativity or Beuys’ Feldbett?
Kienholz is utilising the detritus of urban society to assemble installations that comment on religion, race and sex. Beuys is using the most basic materials to provoke our understanding of the larger significance of life – fat, felt, electricity, ovens, clay, etc.
Beuys’ work suggests the potential for social transformation. Kienhol’ work on the other hand is mostly stabbing at hypocrisy with satire.
What art have I seen? Ed Kienholz and Speigelgasse
Ed Kienholz at Blain/Southern. Boy Ed could be offensive. The ‘Black Leather Chair’ Proposal is really ‘in your face’ nasty, especially in the wording – see here.
I rather like proposals as a format (e.g. Peter Liversidge and Lee Lozano) and I didn’t know Kienholz had adopted that strategy. I also didn’t know about pricing method – a sum for the written proposal and plaque, a little more for a drawing, and then a sum to be agreed for realising the proposal.
Also saw Speigelgasse at Hauser & Wirth. All Swiss artists, following the influence of dada…
What art have I seen? Gi cont.
Mitchell Library contains two temporary library related projects:
A public library of and for listening by Anneke Kampman and Katherine MacBride
Invitation to Forms with Kate Briggs, Joseph Buckley, Francis McKee, Vivian Sky Rehberg, Sarah Tripp, Nina Wakeford and Brighton Upton-Trust
What art have I seen? Gi
Deniz Uster’s Citadel at the Briggait, along with Nadia Myre’ Code-Switching and Other Work.
Rosie O’Grady’s May Day at the House for an Art Lover.
Duggie Fields at The Modern Institute
What art have I seen? Will Maclean
Will Maclean’s Narratives at the Fine Art Society, Edinburgh
What art have I seen? Ross Birrell The Transit of Hermes
Ross Birrell’s Transit of Hermes at the CCA, Glasgow http://www.cca-glasgow.com/programme/ross-birrell-the-transit-of-hermes
Failure (ceramics)
“Anyone working with ceramics requires a wealth of knowledge, patience, and painstaking skills, but also the ability to cope with failure—using it to grow as artists.” Read the rest here
What art have I seen? Séan Hillen
Séan Hillen’s Melancholy Witness: Images from the Troubles at Kamera8. Also on show works from the Irelandis series.
What art have I seen? Séan Hillen
Séan Hillen’s Melancholy Witness: Images from the Troubles at Kamera8. Also on show there works from the Irelandis series.
What art have I seen? Lee Lozano
Lee Lozano Slip, Slide,Splice at the Fruitmarket Gallery. I bought her Notebook republished by Primary Information years ago, partly because I like scores and instructions and partly because we were working on Calendar Variations and I was looking for artists working with grass.
What art have I seen? A Global Table
A Global Table at the Frans Hals Museum, Haarlem, Netherlands (thanks to the snow-cancelled flight.
It would be great to be part of one of the conversations that happen around this table periodically.
; or tell you about the ‘policing’ of relationships between Dutch men and indigenous and mixed women in the Indonesian colonies; or explores the batik business in which the Dutch as all good merchants do took from the Africans all sorts of designs and then sold them the materials. These and other works in the exhibition all revealed or described situations, where Shelley Sacks’ piece opens up a dialogue. In her work no simple moral position is offered. Rather we are asked to engage with the lives of the banana farmers.
Sadly the complimentary part of the exhibition focusing on Food in Still Life painting had been replaced at the Museum. It had been replaced with paintings on the theme of humour. Actually this is an interesting juxtaposition. The exhibition blurb is,
Naughty children, stupid peasants, foolish dandies and befuddled drunks, quack doctors, pimps, procuresses, lazy maids and lusty ladies – they figure in large numbers in Golden Age masterpieces. The Art of Laughter: Humour in the Golden Age presents the first ever overview of humour in seventeenth-century painting.
These paintings offer a moral commentary on society. They do this with beautifully rendered scenes containing jokes and knowing winks. Sex is alluded to through visual language of hares and skewers and the audience is captured by knowing looks. Scenes are ripe with meaning and compositions juxtapose meaning in revealing ways. Not all the contemporary works dealt with their subject matter with such finesse.
What art have I seen? Hamburger Bahnhof
Several amazing Robert Rauschenberg works.
Also major pieces by Joseph Beuys at the Hamburger Bahnhof including ‘Tallow’ originally made for Skulptur Projekte Munster and now in the collection. Caroline Tisdall’s description is much more evocative than the one on the archive website.
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