Posts Tagged ‘Chloe Lamb’

Blackpaint 615 – London Art Fair, Saatchi and Angelopoulos

January 30, 2018

London Art Fair

This was a couple of weekends ago, but I thought I might put up some of my favourites:

 

Chloe Lamb

Great little corner of abstracts.  One of her big ones is a little Lanyon-ish (didn’t see any Lanyons this year) but the colours are very strong, I think.

 

Dorothy Mead

Terrific drawing by the Bomberg acolyte.  I actually prefer her stuff to the Master.

 

William Brooker

I put up a photo of a Brooker painting at the fair last year; it was a beautiful table assemblage in that precise Coldstream/Uglow style (see below).  This one of the nude in bed reminds me more  of Sickert, however.

 

Patrick Proctor

Huge, screen-like painting – actually, they ARE screens in the picture, aren’t they?  Great painter, often similar to Hockney.

 

Duncan Grant

Typical Grant piece, maybe a little conventional, but I like it.

 

Iconoclasts – Art Out of the Mainstream, Saatchi Gallery

The Ice Cream Seller, Danny Fox

That blue cheered me up on a cold, dismal morning in the week.

The Professor, Josh Faught

Faught does loose textile pieces hung with bits and pieces, joke cards, badges, a spilt coffee cup, most of which relates to the gay scene in the US.  They are colourful and funny and sad.  I love that spilt coffee disc, made out of resin; had to touch it when the attendant wasn’t attending..

 

Corvid, Kate MccGwire

The external skin of this giant intertwining black sausage is composed of crow feathers – hence the title.

 

Philip Pearlstein, Saatchi Gallery until 25th March

Eight of Pearlstein’s intricate, crowded pictures of pallid, pensive nude women, sort of interacting with various props, mostly by being draped around them.  Sometimes, the toys, animals, dinosaurs and duck lures seem to be eyeing them.

Models and Blimp (1991)

Apparently, they are done from life, although the angles and proportions sometimes suggest photographs.

Theo Angelopoulos

I’ve just completed viewing another box set of this fantastic director’s films.  They are often “stately paced” and solemn; sometimes he lectures you on history through the mouths of the characters; but they are operatic, visually arresting, the ever- present music is plaintive and beautiful.  The Greek and Balkan landscapes are rough and mountainous; it’s often snowing, raining, flooding.  Groups or pairs of weary individuals lug dusty suitcases along empty streets to deserted railway stations, drink in shabby, bare cafes; suited men and women in 40s dresses dance to guitar, sax and accordion jazz in bare dance halls or on promenades, until Fascists. or police, or soldiers show up and everyone scatters; occasional outbreaks of violence, hangings, rapes, shootings – and the slow unrolling of history.  Often, he uses major international actors; Marcello Mastroianni, Harvey Keitel, Irene Jacob, Bruno Ganz, William Dafoe.

Ulysses’ Gaze (1995)

A giant, disassembled statue of Lenin floats down a Greek (or Romanian?) river to a new home.

 

The Weeping Meadow (2004)

Carcases of slaughtered sheep festoon a tree outside the village big house, to signify the neighbours’ disgust at the occupants’ actions.

 

The Dust of Time (2009)

Prisoners of the gulag climb and descend an open stairway in a snowbound Soviet landscape.

 

 

 

Flame Landscapes

Blackpaint

30/01/18

 

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Blackpaint 321 – Yorkshire, Blackburn and the Leopard

January 23, 2012

Hockney at the RA

The weekend papers full of hype for this – Roy Hattersley droning on about Yorkshire, bringing in Captain Cook and other irrelevancies, interviews with bussed-down Yorkshire painters groups, Yorkshire tourist board planning Hockney tours…  More about Hockney’s “superlative” drawing skills,” richness and exuberance” of the colours.  I have to say that none of the repros I have seen particularly demonstrate Hockney’s (undoubted) drawing skills and some of the green, orange and Ribena colours look like no colours I have seen in “real life”, in Yorkshire or anywhere else.  An artist called Jim Bruce – not a Yorkshireman – tellingly referred to Hockney’s landscapes as “abstract”, while enthusing about them to an interviewer.  Laura Cumming in the Observer says “He is not primarily interested in the ever-changing rhetoric of weather, light or nature.  He is thinking about picture making..”   She refers to the colours as “Matisse crossed with Walt Disney” and I persist in being reminded of the animated Lord of the Rings.

The size of the paintings must contribute to the feeling of “Event”; I touched on the previous display of Hockney big trees at the Tate Britain when writing about John Martin’s spectaculars recently.  Interestingly, with regard to hype, I see that the Leonardo exhibition is described as “overpraised” in today’s Guardian.  Don’t think any critics had the nerve to say that when it opened.

Having said all that, the Hockneys are definitely distinctive; you couldn’t mistake the pictures for anyone else’s work and that’s something to prize, for sure.

London Art Fair

Acquired tickets for this, which normally cost £18 entrance fee, expecting a lot of dross; instead, saw the best British painting I have seen all year.  Admittedly, most of it was  St. Ives or other oldies, but that’s the rut I’m stuck in.  My partner tells me that the recession is leading collectors to sell off some good stuff, but I’m unconvinced; lots of cash around at the top end, I think.  Anyway, some lovely, brilliantly coloured Anthony Frosts (Terry’s son), loads of Alan Davie, including a great one on thick brown wrapping paper, Roger Hilton poster paints and others from earlier, loads of little Sutherlands, Keith Vaughans and great early Sandra Blows, when she was using sand and suchlike.  Several Ivon Hitchens, Prunella Clough, and a totally uncharacteristic Patrick Heron, that was bright little colours on a black base.  The best pictures were as follows:

Peter Lanyon, large oblong panel, with unusual, intense orange -red section and an almost grafitti feel to it; 

John Blackburn, new to me, but born 1932; beautiful white and blue panels on an upright rectangle, tucked away at back, very like Paul Feiler;

Paul Feiler (born 1918, Britain’s greatest living abstract painter), white and off-white square with red and blue broken and concealed lines breaking surface here and there; 

Adrian Heath, who taught Terry Frost in POW camp, Poliakoff-like geometric shapes in various colours, resembling collage;

Robin Denny, a big, wild, dark blue Ab Ex effort, so fantastic I stepped back carelessly for a better look, straight into a gent who was also gazing at it.  On the way home, we saw his (Denny’s) coloured rods design on Embankment tube – hard to believe same bloke did both.

Also in Embankment station, a besuited Peter Blake, several of whose works were on show at the Angel.

Three other painters whose work I liked were Mark Surridge, little Lanyon-y panels; Rebecca Salter, gauzey, gossamer surfaces to her canvases,; and Chloe Lamb, whose abstracts, often in variations of ochre, I loved, but thought the paint could have been slapped on more thickly.  There is another Chloe Lamb, featuring on Google.

The Leopard, Visconti

Made in 1963, just seen the DVD.  Sicily in Garibaldi’s time, eras ending, the stately old aristos intermarrying with the new bourgeoisie – Burt Lancaster surprisingly perfect, once you get used to the dubbed voice; another sumptuous, hypnotic ball to go with the one in Russian Ark; those quirky mazurkas.  And Romolo Valli, the hotel manager in Death in Venice, here a sycophant priest.  And music by Nino Rota.

Old one, I’m afraid; batteries in my camera gone.

Blackpaint

23/01/12