Posts Tagged ‘Gaudier – Brjeska’

Blackpaint 511 – Pollock, Fury and One-Note Plinky

September 14, 2015

Jackson Pollock, Blind Spots (Tate Liverpool)

This is a great little exhibition – about fifty pictures? – mostly from 1951 – 55, when his best stuff was supposed to have been done and decline set in.  There are a few drip paintings from 1947-9, by way of context; staggering delicacy and intricacy in the twining of the coloured skeins, rendering laughable the comment in the Telegraph Review section that there is “more to Pollock than flinging paint violently onto canvas”, as if that is what he had ever done.

The large drip painting, although beautiful, does remind you (or me, anyway)of a Formica table top from the fifties.  It’s the size, shape and the continuation of the pattern on the edges (because he did them on unprimed canvas on the floor and stretched them on supports afterwards).

Some favourites below:

pollock no 8 1952  

No.8, 1952

This one strongly reminiscent of Asger Jorn – I’m thinking “Letter to my Son” (Tate Modern).  It’s the little heads swimming about.

pollock no14 1951

No.14, 1951

Is that a chameleon, stepping through the undergrowth? Probably not…

 

Pollock no 12 1952

No.12, 1952

The big colourful one that Frank O’ Hara called a great “gigolo of a picture”.

As well as Jorn, you can see Picasso here and there.  There are a couple of sets of prints, which I think  conflict a little with Pollock’s spontaneous ethic; not just a driven genius then, a bit of business acumen there.  A bit like De Kooning, deciding to “harvest” the newspaper sheets he placed on his paintings in the 60s, to keep the paint from drying too quickly; shift them a little to smear the image and you have a “Monoprint” that can be signed and sold, instead of chucked away.

Constellations, Tate Liverpool

The paintings in this collection are arranged in “constellations”, which ignore chronology and geography and bounce off each other in some not always apparent fashion.  Fine, if you know plenty already but not helpful if you want a more art-historical approach.  I realise this sounds like the eternally carping Jonathan Jones, but in this respect, he has a point.  Some highlights below:

gaudier brjeska

Henri Gaudier Brjeska

 

dieter roth

Dieter Roth – I think it goes this way round.

 

bonnard window

Pierre Bonnard

pistoletto

Michelangelo Pistoletto

What’s she feeling for there?  Rather like my partner’s side of the bed.

Billy Fury

billy fury

Superb statue, by Tom Murphy,  of the great singer on the Albert Dock; the stance and the profile are perfect – I missed that lop-sided sneer/smile he used to do, though.  “So near, yet so far away”..

Carver and Kidman 

A very tenuous connection – rather like Constellations – here: I’d just been reading the Raymond Carver story about the boy who is run over on his birthday and slips into a coma, when Nicole appeared on TV in a film called “Rabbit Hole” – in which her son has been run over, chasing his dog across a road.  The film is actually about his parents “coming to terms” and it employs that awful, universal, plink-plunk sequence of slow, single piano notes to signify melancholy – I think I’ve actually heard it in news bulletins, behind “special reports” by journalists “on the spot”.  Thank goodness for the likes of Carver and Cheever and Wolff ; you couldn’t do one-note plinky behind films of their stories (I can think of three, “the Swimmer”, “Short Cuts” and “Jindabyne”).

Jodorowsky, Santa Sangre

Mexico, circus, clowns, knife-throwers, women wrestlers, ecstatic religion… arms chopped off, throats cut, murder by throwing knife and samurai sword, acid flung on genitals…the funeral of an elephant, the resurrection of a host of murdered “brides”…and it manages to be sentimental too, with an accompaniment of emotive Mexican song.  Possibly some one-note plinky, even.

sidelined WIP

Work in “Progress”

Blackpaint

14.12.15

 

 

 

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Blackpaint 470 – Wet Paint and Whales, Sex Dolls, the Blues and Killers

November 21, 2014

Beware Wet Paint at the ICA

Upstairs at the ICA, a small exhibition of (mostly) big paintings, the best by the following three:

Korakrit Arunanondchai  He painted two big pictures, set fire to them, photographed the burning canvases, blew up the photos and used them as an underlay to the holed and charred originals – shades of Metzger and Miro also exhibited a few burned “remnant” paintings – or at least, the Hayward did, Miro being dead at the time.

korakrit

 

Parker Ito,  who had a huge, Manga-style effort which was built around a cartoon girl eating ice cream;

 

Christopher Wool; big grey swipes and washes, black enamel paint Marden lines, from which, here and there, the central pigment had been wiped, leaving “ghost” lines – lovely painting, see below.

christopher wool

 

Leviathan, Zvyagintsev 

The director who did “the Return” 12 0r so years ago.  Town in northern Russia on the Barents Sea, rocks, cliffs, fiords, smashing waves, bleached whale skeleton.  Central character locked in legal battle with corrupt local mayor and officials, semi – gangsters; mayor wants to annex his house and land to demolish it and build on.  House-owner brings in his old army mate, who is a Moscow lawyer and comparatively honest…

More drinking even than the average Bela Tarr – although vodka rather than palinka – and/or smoking and scoffing pickled herring, sometimes all three simultaneously.  And target shooting with AK47 (I think).  The odd, oblique,  swipe at Putin, more direct fun-poking at previous leaders, both Communist and post – Soviet (but not Stalin).  A glimpse of Pussy Riot on TV; Orthodox Church shown as natural allies of the new state gangsterism.  Good, but heavy-handed with the symbolism; the bleached whale bones made a couple of predictable appearances.

Kettles Yard, Cambridge

Rather reminded me of visiting Charleston recently, although here they let you sit on the chairs in the house.  A brilliant collection of Ben and Winifred Nicholson, Christopher Wood – easy to mistake for early Ben, or I did anyway – David Jones, some very unusual drawings, nothing like his usual, busy, spidery style, and Gaudier-Brjeska, who has a whole storey to himself.  There’s the Ezra Pound below, the curved fish, the broad-shouldered man…  In addition, there is a great sketch of a nude woman by Brancusi over the piano and to the left, an unusual monochrome Roger Hilton.

 

gaudier1

Silent Partners, the Fitzwilliam Museum, Cambridge

This exhibition is about artists and their mannequins, used for artistic –  and other purposes in the case of Kokoschka and probably Bellmer – down through history.  Some highlights:

Janos Bortnyik, paintings of Adam and Eve, geometric buildings, natty man, pointy legs, tiny waist.

bortnyik1

 

Millais, the Black Brunswicker; look at that white satin dress – fantastic.  The one on the left is the Brunswicker.

millais the black brunswicker

 

Oscar Kokoschka, a selfie in garish tones with a painted life-size doll (not the Alma one).  Good likeness of Oscar, not flattering of either.  Also photos of him with the furry- legged Alma Mahler doll, and Bellmer’s sexy poupee dolls, legs splayed…

kokoschka silent partners

 

Also, a great Degas artist and mannequin, Burne-Jones Pygmalion and Galatea  – Galatea long body, bruised eyes, real Victorian beauty.

The permanent collection at the Fitzwilliam deserves some space so I’ll defer it to next blog.

The Blues and Killers

I imagine it’s a function of TV writers’and researchers’ record collections – blues and even folk music popping up all over.  In the first “Fall” series, the killer was listening to Sonny Boy Williamson’s “Help Me” and others; the paedophile (or he’s shaping up to be) played by Ken Stott in “Missing” listens to Robert Johnson.  Johnson again, as well as the Copper Family and Karen Dalton, in “Down Terrace”, the brilliant, funny and horrifying gangster film by Ben Wheatley (although that was made in 2009).  I don’t buy it really –  can’t see blues fans as killers; anorak seekers after authenticity, more like.

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For Derrida, Blackpaint

21.11.14