Posts Tagged ‘Andy Warhol’

Blackpaint 558 – Bourgeois at Bilbao, Warhol, de Kooning and Twombly too

June 13, 2016

The Black is Back (from my hols in Euroland)

Sorry to the thousands of you who asked desperately what happened to last week’s posting – I can’t yet manage to post properly from a Kindle.

Below, my winning entry for the Putney Art School Life Drawing prize, 2016; certificate and £25 voucher, since you ask.  Soon (19th June) to be on show in Putney Exchange exhibition, opposite Waitrose, if you’re in the area…

crabman

The two pictures below are my failed entries for this year’s Royal Academy Summer Exhibition; they will also be on show at the “Salon Des Refuses”, SPACE, 129-131 Mare Street Hackney E8 3RH 23rd – 26th June; come along and buy them and possibly even meet the artist.

 

dirty protest2

Dirty Protest, Blackpaint

 

heaven only knows 2

Heaven Only Knows, Blackpaint

 

Louise Bourgeois at the Guggenheim, Bilbao

Back to real art now – as always in summer, I braved the nightmare drive along the Scalextrics road “system” round Bilbao, with teeth clenched and Johnny Winter loud on the CD player, in order to visit my favourite art museum.  There were about four large rooms devoted to LB’s sculptures, paintings and assemblages, including the following:

 

Bourgeois 1

  • Caged, bandaged, bundle hanger (above); maybe influence on Sarah Lucas?
  • Caged spiral staircase with hanging balls (below); reminded me of a Paul Nash painting.

 

bourgeois 2

  • Lots of miniature stairways, chairs, little doors in little walls…
  • Lots of transmogrifications, human heads becoming or emerging from things (one very Dali-esque hanging head)…
  • Lots of full-size rooms – confessionals, cells, bedrooms – made out of old, scarred doors, varnished partitions, old window frames, cracked glass.
  • Surrealist paintings, reminiscent of Picabia and oddly, David Shrigley (that cartoon style);
  • Her late paintings, anatomical, guts and plumbing on show, a little Dumas maybe, with Emin-like captions or statements: “I know where I’m going”, etc.
  • And of course, spiders and biomorphic genitalia things…

Impressive to see the range of her influence, but not surprising.

Masterpieces Room

Big works by Klein, Rauschenberg, Styll, Rothko, Motherwell – and my two favourites below:

 

nine-discourses-on-commodus-1963

Nine Discourses on Commodus, Cy Twombly

Love those blood and brain- like splatters…

 

villa borghese

Villa Borghese, by Willem de Kooning

Love those muddy brush sweeps.

Shadows, Andy Warhol

A roomful (see below) of 102 screenprints by the master of repetition; as far as I could make out, only three variations were NOT repeated; those in ochre, grey and yellow.

 

warhol shadows

School of Paris, 1900 – 1945

Three things worth highlighting here:

  • A Picasso ball or concert, shades of Munch, or Toulouse Lautrec, or in our time, Michael Andrews – pale women, ball gowns, slashes of lipstick, a silver carafe, conventional perspective… done in 1900.

Pablo Picasso

  • A huge, particoloured, reclining nude by Frantisek Kupka; not that great maybe, but striking and new to me.

kupka

  • A lovely Matisse portrait on a greyish green background of a woman in a ruffled blouse.
  • A sculpted head by Duchamp-Villon, Marcel’s brother, that was reminiscent of Bacon’s portraits, especially that one of Isobel Rawsthorne, with the curving slash down the face.

Otherwise, Delaunay Eiffel Towers, Chagall floaters and fliers, grey Braques, Legers, Gris..; the usual, fabulous stuff.

The Disappearance, BBC4

poisson

Binge-watched four episodes of this the night I got back, until 3.00am; it’s very like the first “Killing”; the focus on the parents, the inevitably flawed father, the mother who goes all emotionally frozen in grief and seeks release in an extra-marital sexual encounter – but gets too drunk to go through with it; the focused, introverted detective Molina (a man in this one) who has a difficult daughter… and so on.

The ridiculous coincidence in this one is that it is the detective’s daughter, out of the whole population of Lyon, who discovers the body of the girl her father is searching for.

Next blog; Mary Heilmann at the Whitechapel.

Blackpaint

June 13th 2016

 

 

 

 

 

 

 

 

Blackpaint 472 Lard, Lilith and Daybreak in Paris

December 8, 2014

Nefertiti again

Reading my Phaidon “30,000 Years of Art”, I find that the astounding head in the Berlin Neues Museum was done as a sort of template for Nefertiti heads – it wasn’t even intended as a masterpiece, but as a pattern!  The unpainted eye was on the less important side; apparently, the right profile was the important one in Egyptian culture (but what about figures “walking” towards the left?  Are they all looking behind them?).  No, of course they’re not – I just checked.

nefertiti2

 

 

The Hauptbahnhoff Museum

This is an old station, converted;  it has a vast central hall, with a series of display galleries to the left and right of the entrance and downstairs, long corridors of white walls, opening on big and small white chambers, packed with great stuff – although not really “packed”; loads of room,so well spaced out.  There is so much fantastic stuff in here that I can only mention a few pieces (why? – because otherwise I’ll be writing this for ever and I want to publish and go to bed).

First, to the left, for Beuys.  There’s the old felt suit, shoals of blackboards with his crazy lecture notes all over them, rusted iron rails attached to an iron cannon barrel with an iron man’s head poking out – iron’s wired up, something to do with iron storing electric earth energy like a battery….  But the standout exhibit is a roomful of giant blocks of “tallow” – not candle wax but lard.  It’s made from mutton fat, leavened with some beef fat to stiffen it and moulded into blocks by the contours of some underground subway on a new concrete estate. He had been invited to celebrate the completion of the estate with an appropriate work.  Some of the chunks are strapped together with bolted metal struts, some are wired up to detect heat in the centre to see if they had solidified.

No doubt, those who invited Beuys’ contribution were well pleased.

photo 1

 

Blocks of lard, Joseph Beuys 

There is a room of Warhols, giant prints of kitchen knives, flowers (green and blue), Elvis with the six-gun, and a HUGE face of Chairman Mao, surrounded by slapdash strokes of yellow paint.  There is also that horrible ambulance crash, with the dead woman hanging backwards out of the smashed window; I couldn’t see how such a crash could have happened – I wonder if it was staged in some way.  Then again, he used other shocking images that were not staged, like the woman jumping to her death from the flat…

Moving on from Mao, there are four or five big Twomblys, the usual fragments and scribbles, looking indefinably great somehow and three fabulous Rauschenbergs (see below).

photo 1 (1)

 

photo 2 (2)

photo 2

Just a little bit like Karel Appel, I think.

Now Kiefer.

Three things: a parody of a wedding dress, on a stand, penetrated with great shards of broken glass, like that of a reinforced window; a huge, black, wooden plaque, scarred and scored, with cartoonish portraits of great figures of German and world history (I think Bismarck and Einstein both there).  Finally, on end wall, “Lilith” – a long plaque of grey lead, with big, loose lead rolls and sheets attached; in the centre, a number of little girls’ dresses. half-painted over and stuck on.  There is a blurb on the wall about Lilith, Adam’s first wife in the Kabbala and the legend – but anyone can see it’s about the camps, whatever Kiefer might say; in that respect, he’s a prisoner of German history.

photo 1 (2)

 

Lilith, Anselm  Kiefer 

Of the rest, Katharina Grosse reminded me a little of Kiefer in the use of two felled trees for her exhibit; he goes in for using entire felled trees on occasion.  As can be seen below, however, Grosse uses distinctly unKiefer-like spray colours on her trees; Anselm sticks to silver and gold, browns, black, greys and white, pretty much.

photo 2 (1)

 

Le Jour se Leve, Marcel Carne, 1939

At last out on DVD, the great Jean Gabin, on his push-bike, with that slouchy flat cap and the ribbed sweater; working class hero, holed up in his attic room, chain smoking, besieged by the flics, awaiting daybreak and the inevitable.  I was astounded to see a brief – but not that brief – shot of Arletty totally starkers; a surprise to say the least, seeing as it was made in 1938 or 9.  It mirrors the fall of the Popular Front, according to the commentary on the DVD.

The Narrow Road to the Deep North, Richard Flanagan

I’m only about half way through, but I’m seriously wondering how this won the Booker Prize.  Apart from the laughable and well-publicised sex scenes  and the interminable, slushy affair that bogs down the first half, there’s a bit of a problem with the camp scenes; he’s inclined to do that Gallipoli thing where they ‘re all larrikins, ex-shearers, roo hunters, prospectors… He actually says at one point that they have arrived in the prison camp from the 19th century.  He seemed like a nice bloke on the telly, though, and there is the fact that his father was a POW of the Japanese and died before it was published.  Maybe the judges have been softened up by all the WWI stuff.  Or maybe they haven’t read any of those red-spined Corgi war paperbacks from the 50s and 60s, RH Whitecross’s “Slaves of the Son of Heaven”, for example.

 

photo

 WIP,

Blackpaint

08.12.14

 

 

 

 

 

Blackpaint 222

November 22, 2010

Miro at the Tate Modern

From reviews, Miro’s show at the Tate Modern, like Picasso at Liverpool recently, seems to be an attempt to portray Miro as a political artist.  This claim largely rests (it appears) on the poster he did for the Republican cause (see Blackpaint 26, Jan 2010) and on a surreal painting  “Still Life with Old Shoe”, in which he shows an enormous fork, about to plunge down into an apple – apparently a subliminal reference to the impending outbreak of the Spanish civil war, according to curator Matthew Gale.  Gale says this shows he is not just about “whimsy”.  He also made a work which was a response to the execution by garotte of an anarchist activist, Puig Antich – in 1974.  I remember that horrible event – the victim is strapped to a board and a metal noose tightened around his neck until the spinal cord is severed – you didn’t have to be an activist to be horrified – everybody was.

Any Miro exhibition is good news, but why bother to transform someone plainly more interested in the politics of the psyche – in his art, anyway – into a political painter?  Miro doesn’t need the justification.

The Last Supper

I’ve checked on Google, and although most Last Suppers take the da Vinci form ( table lengthwise across picture, Christ central, disciples seated behind table in a line) there are a number of exceptions.  Tintoretto’s table slants from lower left to upper right and includes a number of servants in the lower right area, Palma de Vecchio, Dieric Bouts and Simon Vouet all show disciples round the table.  In Bouts’ stunning, serene picture, Christ sits at the top of the table.  This arrangement is used in Russian icons, one of which, from 1497, shows a round table.

I was rather surprised to come across a version by Andy Warhol, based on the da Vinci.

Caspar David Friedrich

I’ve been told I’m too kind to painters and should be more critical, so I’ve cast round to find one I really don’t like, and I’ve come up with the above.  After all, he’s dead and I’m hiding behind anonymity, so I can say what I like.  I saw Andrew Graham – Dixon’s item on Friedrich on the Culture Show last week, which was clearly an advert for AGD’s forthcoming series on German art and it confirmed my aversion.  Country crucifixes in the snow,  misty mountains, purple –  orange – green skies, thrown – away crutches, heroic/romantic figures staring out over mist-filled chasms or oceans, deserted, ruined monasteries, graveyards….

Well, there are two I like; the wreckage on the ice floe, forced up into the Tatlin tower shape and the little man on the beach with the great, threatening wall of fog or cloud rolling towards him.  It makes me think of John Carpenter’s “The Fog” – are there undead pirates concealed in it?

Leonardo

I like the way he illustrated the predicted effects of his war chariot, in the drawing of it with the blades on the wheel hubs; he has drawn dismembered bodies scattered around.  Well, yes, I suppose it would have that effect, wouldn’t it?

Quiz

Who painted himself as “a Tyro”?

Blackpaint

22.09.10