Revisits only this week, on the exhibition front:
Paul Nash (Tate Britain) again – I noticed how Nash often places objects in close-up and often out of perspective with surrounding features (tennis ball, leaves, mushrooms, a cleaver stuck in a wood block). This achieves a surreal effect, as it were, without anything actually “surreal” going on. Also, how the clouds sometimes resemble flints or lumps of chalk. Banal comments, I know; best I can do today…
Abstract Expressionism at the RA – again – anything else to say? I spent more time with Clyfford Still; the “torn strip” effect is sometimes painted, my partner tells me – that is to say, the white bits that resemble the edges of torn posters. Sounds rather contrived for an AbEx, it seems to me.
Ab Ex discussion – We attended a discussion on the exhibition, in which three current abstract painters took part: Selma Parlour, Lisa Denyer and Gabriel Hartley. The most common term used was “materiality”; there was much talk about which was more important, process or outcome (both, not surprisingly) and several artists to watch were mentioned – Tomma Abst was one, Laura Owen another. Someone asked from the floor whether Abstract Expressionism would have happened without World War II: the artists acknowledged the importance of the European refugees, but speculated about home-grown American traits such as the huge landscapes of the “Sublime” tendency.
Three (mostly) B&W films:
Embrace of the Serpent (Ciro Guerra, 2015) – echoes of Apocalypto, Aguirre, Wrath of God (especially in the mission scenes), and Fitzcarraldo. The relationship between the Europeans and the native peoples occasionally brings to mind Dersu Uzala; at the end , there are scenes of drug-induced hallucination which, astonishingly, remind one of Solaris (Tarkovsky’s, that is). Colour makes an entrance here.
A Canterbury Tale (1944) – weirdness of story, woodenness of acting, especially the American sergeant, who seeks to be reading or reciting his lines – he was a real US soldier, not an actor, to be fair; the sinister glue man, Colpeper – but the light, the scenery, the history, the hawk becoming the Spitfire… Like most Powell and Pressburger films, it seems to have a magical quality that compels you to watch, despite the feyness. I think it must be the cinematography, by Erwin Hillier.
Possibly the most uncomfortable scene in the film, in which Alison Smith (Sheila Sim, later Lady Attenborough) sits far too close to the self-righteous and sinister Colpeper, the secret glue smearer and unbeknownst to her, her attacker. Colpeper is played by Eric Portman.
Soon to be a Spitfire…
The Seventh Seal (Bergman, 1957) – direct line to Corman (Masque of the Red Death), Ken Russell (medieval squalor and hysteria), Monty Python (same) – and any film which ends with dancers in a line against the horizon (Fellini’s “81/2”, Pina..)
The real hero is not Von Sydow’s Block, but his squire, Jon. Amusing to see Block eating wild strawberries… Death resembles Gielgud.
Max von Sydow (the knight, Block)
Dance of Death
Gunnar Bjornstrand (Jon)
Planet Earth II
Staggering sequences of course, but the constant music was driving me nuts – until I thought of the Subtitles and Mute functions. I also find the quality of the photography unsettling – the way it’s in focus throughout the shot, not just the foreground. I’m just old school, I guess.
Three new pictures to finish, on wood panels:
The Spheres 1
Spheres 2
Spheres 3
Blackpaint
11/11/16