Saturday, 30 April 2011
'The genuis of british art'
' How to get a head in sculpture'
No longer available on iplayer unfortunately but this docu was really interesting and inspiring as David Thewlis ( actor) has sculpture of his head created by 3 very different sculptures and it is intriguing to see how these artists see the purpose and intention of a portrait in terms of what it represents or conveys. The sculptor that intrigued me the most was an artist whose name i cannot find who creates small scale sculptures of the essence of the person that actually look nothing like them, it is their soul,energy and personality he tries to convey, for example white actor Thewlis was recreated as a bald headed man from African descent but strangely i could actually see Thewlis in this sculpture which i thought was amazing!
Friday, 29 April 2011
Thursday, 28 April 2011
I remember one particular series, perhaps the slate work, discussing in a abstract and highly personal way, the nature of getting older as a woman which i thought as white, aggressive scratches on a slate surface, was communicated in a clever and unexpected way and it really inspired me into thinking broader for my next project in terms of how installation can using light and text to invite the viewer in, as i found the larger installations, in particular a hut-like structure, to be very present in the space, also Mary Kelly uses language in such a way that reading does not get tiresome.
Information off the Whitworth Gallery website:
As much about everyday experiences as big historic events Kelly’s art makes the personal political.
From Post-Partum Document (1973-9), the series about motherhood that provoked tabloid outrage in 1976 because of its presentation of stained nappies, to more recent installations about feminism like Love Songs (2005-7), the exhibition traces the artist’s enduring commitment to women’s narratives. The celebratory glow of Multi-Story House (2007) invites visitors to step inside and read the intergenerational dialogue patterning its walls.
The impact of conflict and war also runs through the exhibition. The polished shields and trophies of Gloria Patri (1992), quoting soldiers in Iraq, are hung high like an heraldic display. The Ballad of Kastriot Rexhepi (2001) about a child lost and found during the Kosovo war, makes a continuous sweep around the gallery walls. Kelly’s most recent commission unifies her long-term questions about how history shapes us; the bomb shelter-like Habitus (2010) is ‘corrugated’ with the memories of people born around the Second World War, legible only by looking into its mirrored floor. Mary Kelly’s work reflects back to us how we remember and talk about our experiences, from world wars to daily struggles.
Who Cares (pictured at the top of the page)
Exhibition tag line: 'If you only see the illness, you miss the person,' I was drawn to this exhibition because of the very human subject matter and interested in how successfully the contemporary artists, Lucy Burscough and Kevin Dalton Johnson had managed to portray a contemporary outlook on inner struggles in comparison to Lucian Freud and etc, appearing in the same exhibition. I connected more with the work of these contemporary artists, in particular the 2 part portrait by Lucy Burscough in which section on one side of the portrait had been censored out by red squares but appeared in a fragmented shape on the other half of the canvas, the piece was quite eye-catching and i felt it had something new and different to say. Alternatively, Kevin Dalton Johnson's sculpture had a definite, over- powering presence in the room. the exhibition booklet quotes the artist:
' making large impressive sculptured busts that act as a visual diary of events that reflect my identity and journey as an African diasporic man living in the UK.'
Personally i am not usually a huge fan of figurative sculpture but the awkward proportions and deep eyes of these works really drew me in.
This exhibit on was probably the closest to my own practise,as it used collage, dark humoured paintings and Richard Hamilton style juxtapositions but largely the exhibition consisted of how artists throughout the ages have portrayed the changing nature of the British family. My two favourite works were a long portrait picturing a very male, odd looking version of snow white being seductively undressed by his/her mother. This portrait shocked me because it was created quite a while ago but was seriously quite taboo. I enjoy work that simply suggests and leave you to decide the rest and this work definitely did that. Paula Rego is also quite interesting in her large headed women and dark dreary settings, i enjoy her style of illustration and story telling, i hope to do more of this in my illustration to convey meaning.
Wednesday, 27 April 2011
Level 3: Chromatic Structures
These three rooms bring together artists from the early and mid-twentieth century who explored the use of colour and geometric structures to create abstract art.
Level 3: Material Gestures
painting and sculpture from the 1940s and 1950s, showing how new forms of abstraction and expressive figuration emerged in post-war Europe and America.
Level 3: Poetry and Dream
These displays also show how characteristically Surrealist techniques such as free association, the use of chance, biomorphic form and bizarre symbolism have been reinvigorated in new contexts
Level 5: Energy and Process
The displays in Energy and Process look at artists' interest in transformation and natural forces. A central room focuses on sculpture of the late 1960s
Level 5: New Documentary Forms
This five-room display explores the ways in which five contemporary artists have used the camera to explore, extend and question the power of photography as a documentary medium.
Level 5: States of Flux
The central space of this wing is devoted to the early twentieth-century movements Cubism, Futurism and Vorticism.
The collection split different artists into these categories, for example surrealism into Poetry and dream , also including a a secton on dark humour, which included dark but humorous illustration by David Shrigley and Marcel Dzama.I also particularly enjoyed the 'realisms' section on Level 3, which explained how the realism became popular because it was easily recognisable for the audience and contained impressive sculpture but i was a little disheartened that there was no Ron Mueck! The collection included quite a few large sculpture and installation pieces, For example a 'cot' made out of uninviting metal and sharp, thin wire for the base, i didn't have chance to note down the work but i am still going to try and hunt down the artist, as the work was really atmospheric and clear in its cold maternal message. The other sections contained artists such as Gerhard Richter, Monet, Salvidor Dali, CY Twombly,Anish Kapoor, Andy Warhol, Mark Rothko's dark red paintings, Kwie kulik, Picasso and Francis Bacon!
The work varied in size and scale so much that it really kept it interesting, the large abstract paintings made me consider maybe working with my love of layering and going back to painting over summer, as the Rothko's dark red canvases in the dark room proved that the canvas can be quite a vocal medium. I was extremely inspired by the 'dark humour section' in poetry and dream, as my own illustrations are largely dark humour and odd juxtapositions.
Inspiring and rejuvenating is how i would describe my experience!