Posts Tagged ‘Gravity’

Blackpaint 424 – Lanyon Sketches, Guston, Borgen and Sharks

December 6, 2013

Lanyon Sketches at Gimpel Fils

A fantastic exhibition for Lanyon fans at the above gallery in Davies Street W1, off Oxford Street by Bond Street tube.  There are sketches for the murals at Birmingham and Liverpool Universities and some other studies, all in gouache on thick paper, sometimes several layers.

lanyon4

This is the sketch for the Liverpool work, titled, rather portentously, “The Conflict of Man with Tides and Sands”, done over eight panels of paper; the washed-out colours, white, slate grey shading to blue, ochre, are typical of Lanyon, as is the drawing in heavy black line and sometimes wispy sketchiness, as if done with a nearly dry brush twirled against the surface.

In the Birmingham sketch, Lanyon uses much brighter colours, salmon pink, a bright, almost leaf green, a more vivid blue, a richer ochre; no title for this one.

lanyon5

Those black markings look like calligraphy, like Kline a bit – or maybe mathematical symbols; not sure which faculty the mural was for.  One other example – this one’s called “Yellow Middle”, but it looks like a plough to me.

lanyon2

Morton Feldman, “Give My Regards to Eighth Street”

A very abstruse collection of writings by the avant-garde composer, in which he frequently draws comparisons between music and painting, with particular regard to his favourite trio, Mondrian, Rothko and Guston.  In each little segment, there is maybe one paragraph that I understand.  here he is on finishing a painting:  “Guston tells us he does not finish a painting, but “abandons it”.  At what point does he abandon it?   Is it perhaps the moment when it might become a “painting”?  After all, it’s not a “painting” that the artist really wanted…..Completion is not in tying things up, not in “giving one’s feelings” or “telling a truth”.  Completion is simply the perennial death of the artist.  Isn’t any masterpiece a death scene?  Isn’t that why we want to remember it, because the artist is looking back on something when it’s too late, when it’s all over, when we see it finally, as something we have lost?”  I think he (Feldman) is on to something, but I’m not sure I understand it fully…

guston

Guston, in abstract mode.

Borgen

I thought the episode about criminalising prostitutes’ clients in Denmark and the conflation of prostitution and trafficking was particularly good.  I was astounded to read that Hollande’s government is bringing in similar legislation.  On the characters, I like the way that Birgitte is becoming colder, harder, more pragmatic.  The only way, really, since her new party doesn’t seem to have any policies of its own; on the other hand, it’s not real, is it?

Gravity

When she splashed down, and sank, and then emerged from the capsule and began fighting her way to the surface, did you also think “Shark!” followed closely by, “No, surely they wouldn’t…?”

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In Progress

Blackpaint

6.12.13

Blackpaint 423 – Spencer and Durer, Honey and Fire

November 28, 2013

Durer at the Courtauld

Drawings, woodcuts and etchings showing influence of Italy on Durer; includes great drawings by Mantegna as well.  Durer’s broken outlines, dense and varied hatching on display; great piglets (actually look more like wild boars) in Prodigal Son.  A young woman in a Mantegna drawing looks just as if she’s on her mobile.

Also in gallery, Richard Serra drawings, consisting of masses of crushed black crayon pressed down by Mylar, a sort of transparent plastic.  So, quite a broad spectrum of drawing style on display at Courtauld…

Still think the best painting in the gallery is the Marx Reichlich portrait of the young woman below.

(c) The Courtauld Gallery; Supplied by The Public Catalogue Foundation

Skaters in courtyard below look just like figures in a Lowry, provided weather dull and overcast – pretty safe bet at this time of year.

Stanley Spencer at the Courtauld

In the Terrace Rooms, behind the ice rink, the murals from Burghclere, relating to WW1.  Only one shows action (I don’t think it’s one of the murals); Irish soldiers, struck by a salvo of shells from Turkish artillery.  The viewpoint is maybe 30ft above the ground; a great, looping, grey envelope of smoke, with shadowy forms of horses or men concealed in its folds.  Dead and injured are scattered on the rock or cinders, wounded being carried away.

All the other large pictures share a similar viewpoint – 10 – 30 ft above ground or floor, sometimes the ground tilting drastically upwards about halfway down the picture.  This is most noticeable in the strange picture of soldiers drinking from a spring or well or waterhole – they lie face down, capes stretching along their backs like folded ants’ wings, maybe, lapping at the water, as if pinned to a board tilted towards us.

In another picture, “Map Reading”, I think, only the officer is bothering; in the background, a bunch of soldiers gather berries from bushes in flower, as if they are on the Sussex downs or in a garden in Kent.

spencer mural

In several pictures, white sheets, mosquito nets, bandages, even buckets echo the idea of angelic wings; all tasks portrayed are mundane; scrubbing lockers, eating bread and jam, bathing…

Unfortunately, the Resurrection centre piece is represented only by a giant slide projection, since it is impossible to move the original.  The crosses don’t have that 3D quality they have in the photographs.  A great exhibition though, and free.

Bal

A Turkish film, director Kaplanoglu, set in lush green, mountainous forests, terraces of planted tea; a honey-gatherer who dies alone in the forest when he falls from a tree, his son who speaks only in whispers… A great scene of communal dancers at a mountain fair, women in traditional dress, curtains of mist drifting around the cars and stalls scattered around the hillside.  The pace is “stately” throughout, so be prepared for scenes in Bela Tarr time. “Bal” means honey; it’s one of the “Yusuf” trilogy, with Egg and Milk.

Gravity

When Sandra Bullock is aboard the Russian space craft and fire breaks out, the alarm screen says “FIRE!” in English.  All other notices and instructions are in Russian only.

A Passage to India

Finally got round to reading this, and I’m impressed with the way Forster unfolds the misunderstandings, crassness and arrogance operating between the British, the Indians and the “Eurasians”, and within the Indian groups.  I think I need to read “Burmese Days” again, as well.  Burma, not India, of course, and somewhat later than “Passage”, but I think it will be instructive.

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Skegness

Blackpaint

28.11.13