Views and Reviews


Reading Race in Some Passing Gestures from the 1960s

Tuesday, 28 October, 2014 by Michael Carter

BY WILL ATKIN

A quiz in the April 1952 issue of Ebony Magazine faced its readers with a grid of black and white photographic portraits of sixteen American faces. The title of the page almost excitedly posed the affronting question ‘Which is Negro? Which is White?’, as the editors relished in the problem of reading race into these unnamed people. Through the portraits’ contrasting backgrounds – jumping between light and shadow – the image has echoes of the regimented black/white segmentation of a chessboard, yet the neutral faces of the portrait sitters flatten any such distinct black/white pattern within the grid. The portraits sit as so many grey areas within the whole. In this levelling effect, the image stages the phenomenon of ‘passing’ as it existed in the 1950s; whereby African Americans with paler skin tones sought to ‘pass’ for white, and subsequently ‘pass’ through the checks of a racially prejudiced White American society, and live comfortably like an ordinary (white) American.

Quiz from Ebony Magazine, April 1952

Quiz from Ebony Magazine, April 1952

Levi Prombaum’s paper fleshed out this scenario of passing through a dramatic narration of scenes from Douglas Sirk’s 1959 film, Imitation of Life, which he delivered over several stills to suitably cinematic effect. The film follows the story of Annie Johnson, an African American, and her light-skinned daughter Sarah-Jane. Over the course of the film, Sarah-Jane becomes fixated on the opportunities of social mobility offered in the white middle class world that her and her mother have come into contact with, which eventually leads her to renouncing her black heritage (and yet more tragically, her mother) and adopting all the necessary signifiers of whiteness to ‘pass’ into the society that she craved. At the point at which this kind of ‘passing story’ faded from American popular culture during the 1960s, Levi Prombaum’s research has uncovered a prominent legacy, or scar, of the social phenomenon in the work of certain American artists working at this time.

The main focus of the seminar was the work of Alex Katz, whose brooding self-portrait, Passing, presents a tantalising invitation to consider his investment in the passing narrative. Over a captivating visual sequence, the paper traced how Katz’s grounded, solid profile from his original self-portrait was subtly decentred through its careful replication in different colour ranges and media. The resulting range of slightly varying images was demonstrated to create a kind of field for passing, in which the images fluidly ‘pass’ for one another, for the original, and for Katz himself, whose identity (as the American-born son of Russian-Jewish immigrants) ever eludes us behind the different washes of colour (paintwork which is itself symbolically thin and faintly see-through: bursting the bubble of skin-deep social determinism along racial lines). In these compelling terms, Katz’s paintings were considered as meditations upon superficiality and integrity, opacity and transparency: reverberating within the very frame of racial anxiety that dictated the passing narrative.

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Virginia Woolf: Art, Life and Vision (National Portrait Gallery)

Tuesday, 28 October, 2014 by Thomas Hughes

Virginia Woolf by Vanessa Bell c.1912 Estate of Vanessa Bell, courtesy Henrietta Garnett. Photo credit: © National Trust / Charles Thomas

Virginia Woolf by Vanessa Bell c.1912
Estate of Vanessa Bell, courtesy Henrietta Garnett. Photo credit: © National Trust / Charles Thomas

The idea that an exhibition of assorted paintings, photographs and objects can constitute a ‘portrait’ of someone is an interesting one. Bloomsbury biographer Frances Spalding’s exhibition on Virginia Woolf has added another chapter to the interdisciplinary history of Bloomsbury by confronting the usually only vaguely acknowledged influence of the visual arts on this heroine of literary Modernism. However, it can be complacent about historical stereotype and at times its principle of selection borders on sheer miscellany.

In the first room, a photograph of a ravaged Alfred Lord Tennyson by Woolf’s aunt Julia Margaret Cameron joins other portraits of nineteenth-century luminaries. These are delightful to see, but they are of dubious relation to the subject of the exhibition. Together with a rather sadly-skied allegory by G. F. Watts, contextualised as a friend of Woolf’s parents, they represent a black-and-white, whiskery ‘Victorian period’ out of which Bloomsbury (and ‘Modernism’) miraculously appeared.

Bloomsbury members certainly reacted against their Victorian parents’ ways of writing and painting, not least Roger Fry, who went from Berensonian aesthete to Cézanne fanatic. However, I would caution against falling for Bloomsbury’s own ploy to cover up its late-nineteenth-century origins to appear cutting edge. In the excellent accompanying book, Sandy Nairne singles out an interesting statement of Fry’s that compares Woolf’s Modernist language to the verbosity of Henry James, and historical comparisons like this might have been fun to see played out through the objects on show. We are also promised an insight into Woolf’s overlooked political life, though the inclusion of a distracting Picasso drawing commissioned for an event at which Woolf happened to sit on stage compromises the show’s credibility.

T.S. Eliot and Virginia Woolf by Lady Ottoline Morrell, June 1924 National Portrait Gallery, London

T.S. Eliot and Virginia Woolf by Lady Ottoline Morrell, June 1924
National Portrait Gallery, London

One highlight is an actual portrait of Woolf by her sister, Vanessa Bell, slumped in an orange armchair and Vuillard-like hard at work with needle and wool (c. 1912). It is a provocatively gendered piece: this is an aspiring author – the artist’s sister – not writing, but knitting. In the other paintings on show, Duncan Grant appears as inconsistent. His early portrait of James Strachey against a red screen (1910) is the first in a very successful trademark genre of portraits of people reading, though his memento mori Still Life with Bust of Virginia Woolf (c. 1960) is a decidedly dodgy exercise in paragone and defuses the emotional force of Woolf’s nearby suicide note. Particularly interesting photographs of Woolf from Vogue are nice reminders of Bloomsbury’s talent for self-publicity and its privilege.

Virginia and Leonard Woolf by Gisele Freund, 1939 Estate Gisèle Freund / IMEC Images

Virginia and Leonard Woolf by Gisele Freund, 1939
Estate Gisèle Freund / IMEC Images

This small show makes an interesting case for the significance of assorted visual material in understanding an author. But that anecdotal tendency is worrying because it risks presenting, as many have done before, Bloomsbury itself as something anecdotal. The exhibition clearly makes the point that Bloomsbury occupied a very well-connected place in artistic (not to say political) milieux in the first half of the twentieth century in Britain. But did we already know that? And was Bloomsbury something more?

Thomas Hughes is a PhD student at the Courtauld working on the language of art writing in the later nineteenth century.

Virginia Woolf: Art, Life and Vision was at the National Portrait Gallery from July 16 to October 26 2014.

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Terror and Wonder: The Gothic Imagination (British Library)

Monday, 27 October, 2014 by William Ballantyne-Reid

Jake Chapman and Dinos Chapman, Exquisite Corpse. Etching on paper. London, 2000. Tate: Purchased 2000 (c) Jake Chapman and Dinos Chapman

Jake Chapman and Dinos Chapman, Exquisite Corpse. Etching on paper. London, 2000. Tate: Purchased 2000 © Jake Chapman and Dinos Chapman

Terror and Wonder, the latest exhibition to be presented by the British Library, is an overview of the Gothic genre from Horace Walpole’s The Castle of Otranto (1764) to the work of Jake and Dinos Chapman, via Byron and the Blair Witch Project, Hammer and Hitchcock, and all the unimaginable tales and creatures in between.

Although the focus is largely literary, which is unsurprising in the context of the British Library, the exhibition is highly decorative in its presentation and a well-considered tribute to the genre. Dimly-lit and theatrically decorated rooms host an extensive range of objects, all framed with sound and projection elements, from the dictated diary entries of Lord Byron and Sir Brooke Boothby, to looming shadows and flashes of the awakening Frankenstein. The overall effect is fittingly phantasmagorical.

Mary Shelley, manuscript of Frankenstein, or The Modern Prometheus © The Bodleian Libraries, University of Oxford.

Mary Shelley, manuscript of Frankenstein, or The Modern Prometheus © The Bodleian Libraries, University of Oxford.

As an overview of the Gothic genre, in all its forms and fantastical expressions, there are occasional leaps in the curation of the exhibit that seem either under-explained or over-ambitious, leaving the viewer to fill in the gaps. Having perceived the intricacy with which Mary Shelley and Matthew Gregory Lewis weaved their Gothic narratives, the almost fanatical excitement of Walpole’s interiors at Strawberry Hill, or indeed the obsessive darkness of a look from Alexander McQueen’s ‘Dante’ collection, the flashy realism of Martin Parr’s photographs from the Whitby Goth Weekend served as a rather gauche conclusion to the exhibition. Perhaps this was the point. Though brilliantly composed, Parr’s photograph of a costumed Goth in mourning attire, sat with a seagull and a fish & chips next to a girl in a neon pink beanie hat, is a sad indictment of a genre that has given us some of our greatest works of literature and film.

The exhibition is strongest when it traces the over-arching themes and aesthetic elements of the genre across time periods, countries and authors. One of the pioneering aspects of Walpole’s Castle for Gothic literature is its mysterious origin story, for the author originally presented it as a ‘found’ manuscript, purportedly penned by an Italian in 1529 and rediscovered in the library of “an ancient Catholic family in the north of England”. This is compared to the nameless narrator of Daphne de Maurier’s ‘Rebecca’, and in the Lemony Snicket pseudonym of Daniel Handler, who includes faceless author photos and oblique dedications throughout his children’s book series.

A vampire slaying kit on loan from the Royal Armouries on display in Terror and Wonder © Tony Antoniou

A vampire slaying kit on loan from the Royal Armouries on display in Terror and Wonder © Tony Antoniou

It is these connections and comparisons that inspire the most wonder; mapping the development of a narrative style across hundreds of years, and observing the aesthetic elements as they morph and transform. Fear is a deeply perceptive barometer of a culture at any one time, and it is an emotion that seems to fuel much of our media discourse today. We frame our society in terms of what we fear most, and it is in this way that the Gothic genre plunges far beyond special effects, shock and gore, and intricate aesthetic details.

Enter if you dare. 

William Ballantyne-Reid is a third-year BA at the Courtauld, specialising in Gender and Queer theory, with a focus on Post-War and Contemporary American art.

Terror and Wonder: The Gothic Imagination is at the British Library until 20 January 2015.

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Rembrandt: The Late Works (National Gallery)

Friday, 24 October, 2014 by Evy Cauldwell-French

rembrandt_ticket[1]Many an exhibition will market itself as “once in a lifetime”. The National Gallery’s Rembrandt blockbuster is no different, clearly marking out the rare accumulation of a vast amount of canonical works in one place. Exhibitions of this size take years to plan, fund and curate. Speaking to employees of the Gallery, it becomes clear that this was by no means an easy feat. The question on everyone’s lips: will it pay off?

It seems so. Aside from the excellent reviews the exhibition has received in the press, personal experiences have been equally positive. My fellow students are eager to part with their fiercely guarded student loans just to catch a glimpse of seminal works such as “The Syndics” or “The Jewish Bride”.

Focusing on his later years as an artist, the exhibition reflects a period of personal unrest. Rembrandt was beset with money worries, and as a citizen he had been hounded by the church for his common law marriage. Facing bankruptcy in 1656, he was forced to sell his spacious house and studio for more modest accommodation. One can only imagine the loss of pride for a man so concerned with self-representation in his paintings.

Yet despite this, Rembrandt was not ready to give up hope. The vast collection of work grouped together in the Sainsbury Wing assures us that Rembrandt’s creative energies could not be dulled by external factors. Organised thematically, the exhibition allows us to explore Rembrandt’s concerns during the last years of his career, spanning ideas like the representation of everyday life to more internal concerns such as intimacy and conflict.

Young Woman Sleeping  © Trustees of the British Museum

Young Woman Sleeping
© Trustees of the British Museum

In fact, it soon becomes clear that Rembrandt’s tender nature has not been blunted by hardship. His pen and ink drawing of A Young Woman Sleeping (c.1654), has been attributed as an affectionate rendering of his partner Hendrickje Stoffels. Stoffels, branded a whore by the Church due to her communion with Rembrandt, is here depicted softly in a position of complete innocence. This private insight into Rembrandt’s personal life suggests his ability to appreciate simple pleasures despite economic complications.

Self-Portrait with Circles. Kenwood House.

Self-Portrait with Circles. (Kenwood House)

Rembrandt’s union with Stoffels has marked him in historical discourse as a man who didn’t always conform. He offers us further hint of this inner rebellion through his many self-portraits of the later period. In “Self Portrait with Two Circles” (c.1665-9), he asserts himself as a wizened elderly man, with a frontal gaze and a hand on his hip. Painted ten years after he declared bankruptcy, Rembrandt is declaring his continued status as an artist. Our eye is drawn to his painting materials, which, undemarcated from his body, are offered as part of his very being. Two circles frame his proud expression, once again reminding the contemporary viewer that money would not stop him from devoting his life to art.

And it is this devotion, arguably, that comes through strongest in the exhibition – not only the dedication of Rembrandt to his art, but also of the gallery to its public.

Evy Cauldwell-French is a second-year BA at the Courtauld, specialising in 20th century interior design.

Rembrandt: The Late Works is at the National Gallery until January 18 2015.

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Constable: The Making of a Master (Victoria and Albert Museum)

Thursday, 23 October, 2014 by Chelsey Randall-Wright

Study of cirrus clouds, John Constable, about 1821-22, oil on paper © Victoria and Albert Museum, London

Study of cirrus clouds, John Constable, about 1821-22, oil on paper © Victoria and Albert Museum, London

John Constable is one of those artists who will stay forever loved among the English, but is unfortunately often relegated to obscurity abroad. When I visited the V&A for this major new exhibition of his painting, I was struck by not only how busy it was on a Tuesday morning, but it also appeared that the median age of attendees was about fifty. Comments about the painter’s appeal to the elderly aside, this exhibition demonstrates Constable’s genius through an unapologetic statement regarding his influences, both contemporaneous and historical, reaching beyond his oft-celebrated colleague Turner. Constable collected over 5,000 prints and numerous paintings during his life. His friend and biographer, C.R. Leslie recounted that, ‘Constable died as he lived, surrounded by art, for the walls of the little [bedroom] were covered with engravings’. If there is a singular importance to this exhibition, it is the ability to view Constable’s works alongside the art he immersed himself in.

The Three Trees, Rembrandt, 1643, etching. © Victoria and Albert Museum, London

The Three Trees, Rembrandt, 1643, etching. © Victoria and Albert Museum, London

The gallery space itself is much larger than I would have expected and unlike many modern exhibitions, flows nicely from room to room. Although I have done a fair amount of personal study on Constable before, I still felt the displays had taught me a wealth of knowledge. Additionally, Constable’s painterly process is outlined beautifully by the curators. There is a clear line of thought that is enumerated through the progression of sketches made en plein air, to larger studio sketches and finally to finished works, many of which he displayed at the Royal Academy then at Somerset House, the Courtauld’s current home. It brings together these earlier stages for many of Constable’s most loved works, such as The Hay Wain, and the grandiose scale of this exhibition allows the viewer to get up close and see each one individually.

The Hay Wain, John Constable, 1821, oil on canvas. © The National Gallery

The Hay Wain, John Constable, 1821, oil on canvas. © The National Gallery

I do, however, take some issue with the curators’ use of the term ‘impressionistic’, which is used once to describe Constable’s style.  Although it demonstrates that the attitude the French Impressionists are often credited with inventing was actually begun almost a hundred years earlier, it does seem an often inappropriate comparison that belittles Constable’s own originality. However nit-picky that may seem, the overall composition, lay out and framing of this exhibition brings to light this great English painter’s thought process, and his insatiable work ethic.

Chelsey Randall-Wright is a MA History of Art student at the Courtauld working on Early Netherlandish Art. 

Constable: The Making of a Master is at the Victoria and Albert Museum from 20 September 2014 to 11 January 2015.

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Anselm Kiefer – A View from a critical distance?

Tuesday, 14 October, 2014 by Sarah Hegenbart

Anselm Kiefer 27 September 2014 to 14 December 2014 Key. 11   /  Cat.  Anselm Kiefer Winter Landscape (Winterlandschaft), 1970 Watercolour, gouache, and graphite pencil on paper, 42.9 x 35.6 cm Lent by the Metropolitan Museum of Art, Denise and Andrew Saul Fund, 1995 (1995.14.5) Photo © 2014. Image copyright The Metropolitan Museum of Art/Art Resource/Scala, Florence / © Anselm Kiefer

Anselm Kiefer 27 September 2014 to 14 December 2014
Key. 11 / Cat. Anselm Kiefer – Winter Landscape (Winterlandschaft), 1970
Watercolour, gouache, and graphite pencil on paper, 42.9 x 35.6 cm
Lent by the Metropolitan Museum of Art, Denise and Andrew Saul Fund, 1995 (1995.14.5)
Photo © 2014. Image copyright The Metropolitan Museum of Art/Art Resource/Scala, Florence / © Anselm Kiefer

I need to begin with a declaration of interest. First, I am German. Second, I am currently writing a dissertation on another post-war artist. This could explain why I might be a bit more sensitive towards these topics than the average visitor of Anselm Kiefer’s large-scale retrospective at the Royal Academy. Nevertheless, I think that I have reasons to my claim that this show is extremely problematic.  Good things first: It comprises an enormous amount of work, provides a good insight into the development of Anselm Kiefer’s works from his early beginnings in the 1970s to his most recent works from 2014, and it makes perfect use of the difficult architectural gallery space. Despite all achievements, the exhibition dramatically fails in approaching Kiefer’s oeuvre from a critical distance.

Some obvious facts first: The earthen colours Kiefer favours, the monumentality of his works, the way in which they overwhelm the viewer, mythological references, the legitimation through German culture and a somehow distorted view on German Romanticism. All of these characteristics are features his works shares with Nazi aesthetics. Kiefer, of course, explains his aesthetic language with the attempt to work through his country’s history to understand the horrors of the Second World War into which he was born in 1945. But his visual language expresses a secret fascination for Germany, which strongly contradicts his verbal assurances. His Deutschtümelei – about which I can find no warning anywhere in the exhibition – is what makes me very suspicious.

Anselm Kiefer 27 September 2014 to 14 December 2014 Key. 28  /  Cat. 0 Anselm Kiefer Heroic Symbol V (Heroisches Sinnbild V), 1970 Oil on canvas, 150 x 260.5 cm Collection Würth Photo Collection Würth / © Anselm Kiefer

Anselm Kiefer 27 September 2014 to 14 December 2014
Key. 28 / Cat. 0 Anselm Kiefer – Heroic Symbol V (Heroisches Sinnbild V), 1970
Oil on canvas, 150 x 260.5 cm
Collection Würth Photo Collection Würth / © Anselm Kiefer

For example: Plenty of heroic symbols, mentioning of German philosophers and poets, the Nibelungen, Wagner, of course, Parsifal and overall the Rhine, the Rhine, the Rhine. But what is critical engagement, what blind fascination for a fascinating culture? It is exactly this blindness towards the agency of his imagery, which disturbs me.

I could have forgiven Kiefer a lot, but not that his imagery follows his ‘cosmology’ which is described in the wall text as ‘an immense alchemical oven in which spirit and matter find themselves in a continuous process of creation and destruction’. This is simply unbearable. It sounds as if the holocaust is nothing more than a tiny aspect within the big universe – a normal process within the continuous re-negotiation between the metaphysical and the physical. The uncritical reading of Kiefer’s understanding of ‘oven’ makes me want to take a pen and annotate this wall text with footnotes.

Anselm Kiefer 27 September 2014 to 14 December 2014 Key. 40  /  Cat. 0 Anselm Kiefer Interior (Innenraum), 1981 Oil, acrylic, and paper on canvas, 287.5 x 311 cm Collection Stedelijk Museum, Amsterdam Photo Collection Stedelijk Museum / © Anselm Kiefer

Anselm Kiefer 27 September 2014 to 14 December 2014
Key. 40 / Cat. 0 Anselm Kiefer – Interior (Innenraum), 1981
Oil, acrylic, and paper on canvas, 287.5 x 311 cm
Collection Stedelijk Museum, Amsterdam Photo Collection Stedelijk Museum / © Anselm Kiefer

In his seminal lecture in 1959, Theodor Adorno emphasised the meaning of working through history. He points out that fascism in Germany is still alive if the idea of a ‘nation’ matters within a context that has lacked the critical distance of working through the past. My worry is that Kiefer’s aesthetics underlines the fascination for a German-ness rather than providing the environment being required for a critical engagement with the fact that this same fascination once contributed to the incomprehensible murder of more than eleven million people – an event so shockingly unique that it cannot be legitimised as a mere incident within Kiefer’s cosmology.

Sarah Hegenbart is a PhD student at the Courtauld, working towards the first English-language monograph on the German artist Christoph Schlingensief (1960-2010). She explores Schlingensief’s late project of an Opera Village Africa as a participatory experiment, which manifests a diversity of themes resulting from Germany’s post-war struggles to come to terms with its highly problematic past.

Anselm Kiefer is at the Royal Academy of Arts, Burlington House from 27 September — 14 December 2014.

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Berlin Biennale 2014

Monday, 18 August, 2014 by Sarah Hegenbart

Listening to the sounds of a classical string quartet on the terrace of a beautiful lake-side villa in Berlin’s affluent Zehlendorf neighbourhood evokes an image of the past; somehow reminiscent of Berlin’s Golden Twenties. This grand venue is however, not the setting for a glamorous garden party, but part of this year’s Berlin Biennale. The sound is part of Carla Zaccagnini’s installation Le Quintuor des Negres (2014), inspired by an interest in the reconstruction of history, in particular the idea of the noble savage as featured in the work of Jean-Jacques Rousseau. Zaccagnini’s work pursues the question of how idealisations of the primitive featured in the music of German Romanticism, and the piece is based on a fragment by Nepomuk Hummel she discovered during her research, transcribed for string quartet by Frankfurt-based composer Theodor Köhler.

This sort of scholarly investigation provides a good example of the manner of conception behind the majority of the works at this well thought-out Biennial curated by Juan Gaitán. The research process is the starting point in the creative process, which is then condensed into an aesthetic form.

Tonel - "Commerce" (2014)

Tonel – “Commerce” (2014)

The traditional centre of the Berlin Biennial – the grand hall in the KW Institute of Contemporary Art – sums up the principle of this biennial exhibition. It resembles an artistic research centre, in which Tonel (like Zaccagnini, an art historian turned artist) engages with commerce from a Cuban perspective. But the emphasis on research does not prevent visitors from aesthetic encounters. In fact, one can discover a lot if one looks closely. For example, the installation Weltall by the artist group Kartenrecht. Do these broken wooden balks comment on the fragility of borders, or do they allude to the garbage flying around in the Weltall? There is definitely space for imagination…

Kartenrecht

Kartenrecht – “Weltall” (2014)

Judy Radul’s Look. Look Away. Look Back (2014) provides an interesting cross-reference from the top floor of the KW to a further venue of this year’s biennial: the Museen Dahlem. Radul’s vitrines touch the controversy of the relocation of the ethnographic collection from Dahlem to Berlin’s Mitte. Gaitán’s decision to exhibit well-known artists, such as Tacita Dean, Goschka Macuga, Anri Sala and Wolfgang Tillmans, in Dahlem raises awareness for neighbourhoods other than the hipster-esque Mitte, Friedrichshain and Kreuzkölln. Gaitán here makes a clear statement against Berlin’s urban planning.

Zarouhie Abdalian - "a caveat, a decoy" (2014)

Zarouhie Abdalian – “a caveat, a decoy” (2014)

Those mourning the lack of aesthetic seductiveness at this biennial ought to climb up to the last step in the KW, where Zarouhie Abdalian’s owl watches over the buzzing city. Her gaze is directed at the TV tower, lovingly called ‘Alex’. Might this be the owl of Athena, an attribute of the Greek goddess of knowledge? Maybe it is exactly this: the beauty of knowledge, which transpires through the 8th Berlin Biennale.

Sarah Hegenbart is a PhD student at the Courtauld.

The Eighth Berlin Biennale ran from 29th May to the 3rd August 2014.

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A World to Win: Posters of Protest and Revolution (V&A)

Sunday, 20 July, 2014 by Percy Darukhanawala

View into one of the two exhibition rooms Photograph by reviewer

View into one of the two exhibition rooms
Photograph by reviewer

Art exhibitions come in many volumes. The more and more frequent stentorian blockbusters make London’s art offering both important and substantive. However, the noise made by these grand shows – aided by dense crowds, zig-zag prams, loud conversations et al – can drown out the sometimes unassuming but potentially very rewarding tones of smaller displays dotted around the capital.

This display of a century of protest posters, packed into two  plain, serene rooms at the V&A, try to jostle, agitate, manipulate and seek attention in various ways. The fact that each work has something specific and immediate to say means that being hung in close proximity to others does nothing to blunt each poster’s impact.

 

The Blue Bra Girl Image: Reuters

The Blue Bra Girl
Image: Reuters

The posters have been loosely categorized under nine headings, ranging from revolution and agitprop, via war and activism, to more unmediated, home-made media. The latter includes self-made prints and digital messages, as in the viral video of an unknown woman in a blue bra beaten by Egypt’s military in 2011 in Tahrir Square.

These posters, as with anything that has elements of poetic, indirect communication about it, reward sustained contemplation with deeper insights and knowledge at many levels: aesthetic, semantic, historical, cultural, national and more. There is characteristically subtle but dark and even menacing word-play in a British poster that urges that the Tories not only be metaphorically kicked  ‘out’ but, one can only assume, physically kicked  ‘in’. This contrasts and reveals telling cultural differences with, a less aggressive, less punning German admonishment about the CDU’s complicity with Chile (‘Since Chile, we know exactly what the CDU thinks of democracy’).

Kiyoshi Kuromiya, Fuck the Draft, lithograph, 1968 Photograph by reviewer

Kiyoshi Kuromiya, Fuck the Draft, lithograph, 1968
Photograph by reviewer

Unlike much art and design, language is a critical tool of the protest idiom. Unsurprisingly, it often borders on the manipulative and borrows from advertising, modulating into ‘subvertising’, as one of the sections is called. In quite a few of the posters, the stark shapes of letters and words and their direct meanings vie with, and even overwhelm, the visual, as in the unequivocal message towards the Vietnam draft by Kiyoshi Kuromiya.

Designers Republic, Work, Buy, Consume, Die, offset lithograph, 1995 Photograph by reviewer

Designers Republic, Work, Buy, Consume, Die, offset lithograph, 1995
Photograph by reviewer

In the most successful, they combine and complement each other and create a communication that is multivalent, even existential, as in the self-critical poster made by Designers Republic (DR) of Sheffield, in 1995. DR were disenchanted with corporate-driven consumerism but acknowledge their role in the process. The imaginary company Pho-Ku (say it aloud – but not in polite company) stands for an anti-corporate identity in the face of increasing global branding.

If you are thinking of popping over to Tate Modern for the Matisse, but just don’t fancy the decibels and prams, it might be worth changing course to Kensington and remembering: s/he who shouts loudest certainly does not shout best.

Percy Darukhanawala is an MA graduand at the Courtauld

A World to Win: Posters of Protest and Revolution is in Room 88 at the Victoria & Albert Museum until 2 November 2014.

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Jenny Saville (Gagosian Gallery)

Monday, 14 July, 2014 by Lisa Moravec

Jenny Saville, Odalisque, 2012–14, 
Oil and charcoal on canvas
, 217 x 236.5 cm © Jenny Saville, 

Photo by Mike Bruce

Jenny Saville, Odalisque, 2012–14, 
Oil and charcoal on canvas
, 217 x 236.5 cm © Jenny Saville, 

Photo by Mike Bruce

The latest large-scale works by the British painter Jenny Saville (*1970) are for everyone who makes a fetish of delicate fingers and toes.  The strong, but at the same time tender, black outlines of bodily endings and coloured heaps of flesh reveal much about the different stages of human embrace.

In 2012, Jenny Saville said in an interview with the Guardian that the older you get, the more doubtful you become – in a good way. Back then she compared being an artist to being an athlete. “You get quite fit on your toes when you’re really pushing. But then you finish a piece, and you have to start all over again.”

Jenny Saville, 
In the realm of the Mothers I, 2012–14, 
Charcoal on canvas
, 249.8 x 332.2 x 5 cm © Jenny Saville, 

Photo by Mike Bruce

Jenny Saville, 
In the realm of the Mothers I, 2012–14, 
Charcoal on canvas
, 249.8 x 332.2 x 5 cm © Jenny Saville, 

Photo by Mike Bruce

Even though, so far, each series of her paintings has referred to a different period of her life – which she has painterly depicted through her own physical appearance; but, she has never had to start all over again. Human flesh has always remained in the centre of her work. Interestingly, all her paintings are based on photographs since she dislikes working from life.

Her latest exhibition, which is her first solo-exhibition in London, provides more insights into her current state of mind and provides some great material for art historians. As remarkably sensational as usual, her latest works appeal not only to psychoanalysts, dermatologists, white or black colonialisers, but obviously also still to Larry Gagosian – who first showed her work in New York in 1999.

Jenny Saville, In the realm of the Mothers III, 2014
, Pastel, charcoal, and oil on canvas, 
94 1/2 x 144 1/8 inches (240 x 366 cm)
© Jenny Saville, 

Photo by Mike Bruce

Jenny Saville, In the realm of the Mothers III, 2014
, Pastel, charcoal, and oil on canvas, 
94 1/2 x 144 1/8 inches (240 x 366 cm)
© Jenny Saville, 

Photo by Mike Bruce

Especially the two works In the realm of the Mothers I (2012-14) and In the realm of the Mothers III (2014) echo the subject matter of the painting Odalisque (2012-14). The black male coloniser is on top of the female white colonised body. As a mother of two small children, Saville figuratively presents the physical act of how to become one, while painterly expressing a woman’s personal feelings towards the playful interaction between the nude female and the nude male body. Hence, Jenny Saville’s latest work still follows the same initial plan: Fleshing and sexing the canvas in reality.

In comparison to her earlier works, the swamping energy steaming from various colours of flesh seems to have clamed down. The flesh of her human bodies has changed its nuance and shape. In 2014, twenty-two years after graduating from Glasgow School of Art, Jenny Saville’s work is even more serious than ever, as she has moved into the realm of a post-painterly security.

Lisa Moravec is a graduate diploma student at the Courtauld.

Jenny Saville is at the Gagosian Gallery until the 26th July 2014.

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Art and Life (Dulwich Picture Gallery)

Monday, 7 July, 2014 by Harry Laughland

Winifred Nicholson, Cyclamen and Primula, c. 1923

Winifred Nicholson, Cyclamen and Primula

‘Art and life’ is currently in its third incarnation after stops in Leeds and Kettle’s Yard. When it closes after the Dulwich offering in late September it will have been on the road for nearly a year, an impressive feat for an exhibition that covers only eleven, albeit prolific, years of British art.

Ben Nicholson is the headline act. But this exhibition investigates the period before he became arguably British modernism’s MVP. Before Barbara Hepworth Nicholson’s first wife was Winifred Roberts. As husband and wife Winifred and Ben travelled to Lugano in Switzerland – via Paris and exposure to European modernist developments – where they spent three consecutive winters in the early 1920s. Here they produced works of vitality and atmospheric gravity. The tissue paper wrapped around Winifred’s flowers in Cyclamen and Primula becomes another mountain to match with their dramatic backdrop. The austere use of muted colour by Ben in 1921-c.25 (Cortivallo, Lugano) expertly displays a glimpse of a Swiss winter. They developed as artists together, their relationship reciprocal. Winifred’s colour comes out in Ben’s First abstract painting, Chelsea, and Ben’s quasi-cubist tonal blocks are referenced by Winifred in Castagnola (Red Earth) and King’s Road, Chelsea. The relationship clearly of equal importance to each.

Ben Nicholson - First Abstract Painting

Ben Nicholson, First Abstract Painting

In 1926 Christopher ‘Kit’ Wood became the third member of this cast of British post-war painters. Wood was a colourful figure who came to the Nicholson’s home in Cumberland ‘like a meteor’. He was the freest of the three, lacking the shackles of an artistic heritage such as Ben Nicholson’s, whose father had been highly respected painter, as well as being exposed to European modernist movements early in his practice, before adopting the sometimes staid English traditionalism present in Winifred’s work. All three were different, but happily worked alongside one another, each learning new ways of painting. This is beautifully shown in the exhibition by the handing of three views of Northrigg Hill, one by each: Winifred’s traditional, Wood’s gestural, Ben’s austere.

Ben Nicholson - Porthmeor Beach

Ben Nicholson, Porthmeor Beach

The fourth member of the group came in 1928 when Wood and Ben discovered the work of Alfred Wallis. Wallis became Wood and the Nicholson’s Douanier Rousseau. An untrained individual who as a result made paintings as real as real life. Wallis was championed, especially, by Ben in London, where he exhibited him in a 7 and 5 show, and it gave both Ben and Wood encouragement in their pursuit of imbuing their work with life. Examples of this abound in the exhibition, but highlights are Le phare, Porthmeor Beach and Boat on a Stormy Sea.

But nearly as soon as the quartet was formed was it finished. In 1930 Wood died in mysterious circumstances, the Nicholson’s marriage was dissolving and Wallis was becoming more and more paranoid as the success earned for him by his London friends began to affect how he was treated in St. Ives. Overall, Art and Life succeeds in showing the development and complementary relationships of this group of British painters that were sadly all too fleeting.

Harry Laughland is an MA student at the Courtauld.

Art and Life is at Dulwich Picture Gallery until the 21st September 2014

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