Posts Tagged ‘Jaap Wagemaker’

Blackpaint 579 – Hanging Buckets, Wedding Cakes and Birds’ Nests

December 22, 2016

Rauschenberg, Combines and Appel

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Appel, 1950

A brief blog before Christmas.  Warning: some “challenging” material below!

While visiting the brilliant Rauschenberg exhibition at Tate Modern and noting the variety and incongruity of the objects attached to his various “Combines” (a sock, a boot, electric fans, a ceramic dog, numerous parasols and parachutes, lightbulbs and lumps of metal), I remembered this piece made by Karel Appel in 1950, some ten years(?) before Robert began his.  Not only does it have a bucket hanging from it, but it’s painted on a barn door.

Apparently, Appel and his associates made a number of these combines in the late 40s/early 50s; maybe Rauschenberg knew of them (via his tutor at Black Mountain, Joseph Albers) – or maybe it’s coincidence, a sort of parallel evolution.

That would be a great exhibition for 2017 at TM – Appel, Jorn and CoBrA –  and/or Appel and other Dutch modernists, Nanninga, Wagemaker, Oepts, Bram van Velde et al…  No chance, I suppose.

Feminist Avant-Garde Art of the 70s, The Photographers’ Gallery

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Ulrike Rosenbach, Art is a Criminal Act

(Rosenbach is the one on the left – and right).

 

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Hannah Wilke, SOS

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Penny Slinger, Wedding Invitation (1973)

 

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Birgit Jurgenssen, Nest (1979)

I didn’t notice, I promise, how these four images make pairs that echo each other until I’d put them in.

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Lynda Benglis (in action, 1969)

It was a surprise to me to realise how familiar many of these images are to me, an old white man – the candour and wit on display here must have driven quite deep into my psyche.  Then again, it could be because the artists were young and beautiful  and not averse, to say the least, to posing naked; and since many works parodied the exploitative cliches of advertising, art etc., this would have been unavoidable.

The only really shocking image is the cover photo of a French magazine, showing the body of a young woman victim of the Hillside Strangler (two perpetrators acting together, as it turned out), surrounded by police and photographers on a hill above LA.  This occasioned a protest event featured in the exhibition.

Missed marketing opportunity by the PG; in a corner vitrine, you can see a copy – maybe the only one – of “The Cunt Colouring Book”.  With the recent vogue for adult colouring books and Christmas coming up, a repro could do well…

Lord Halifax’s Ghost Book – The Bordeaux Diligence

My second surprise of the week was to come across this story in this lovely book, published in 1936 (my Fontana paperback edition is from 1961 – we are promised on the back that “your flesh will creep; you’ll bolt your doors to no avail”), which is worthy of a Bunuel film, or a segment in one at least.

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A Frenchman is asked by an old woman to do her a favour; will he ask that gendarme at what time the Bordeaux Diligence (a horse-drawn carriage) starts?  In all innocence, he does so – and he is arrested and taken to court.  When he repeats his question in court, the shocked judge sends him to a penal colony.  he hasn’t learned his lesson yet; he tells the governor why he is there – and ends up in solitary confinement.  And so on.  Eventually, he gets home and spots the old woman.  She agrees to tell him the reason for his misfortune – but when he stoops to hear her explanation, she bites his ear and drops dead.

 

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The Black Sea, December

Happy Christmas to all my readers.

Blackpaint 

22/12/16

 

 

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Blackpaint 280

June 14, 2011

L’Age d’Or

Good to hear the precise, rolling diction of Robert Short, one of my old teachers at UEA, doing the commentary on the DVD, clearly relishing the alchemical references to “shit and gold”.  I remember being told, along with the rest of my sorry class, to “Piss off, and come back next week when you’ve done the reading I set”, after we showed him uniform ignorance of Hegel’s “Philosophy of Right”.  Years later, and a teacher myself, I realised that he was probably not angry but happy at the opportunity to ditch, righteously, two hours of boring teaching and pursue his own hobby of making surrealist films.

Remember sitting behind him in a Norwich cinema, watching Bunuel’s “Milky Way”, he convulsed with laughter – the only one laughing; everyone else puzzled.

Cecily Brown 

Another pungent Guardian arts review, to follow Jonathan Jones’ Mark Leckey job – this one from Adrian Searle.  He describes her works currently on show at the Gagosian as “Turgid paintings that leave you in need of a lie-down”.  The problem for Searle is that she does very busy paintings in which figures, naked or getting there, are often to be seen in the throes of coitus – seen with difficulty, that is.  Searle feels he has to make the effort to decipher these figures and is annoyed at this.  “She paints hide-and-seek images in which there is lots of noodling about”, he says.  Given the subject matter of her paintings, it’s perhaps not surprising he needs a lie-down after looking at them.

But why do you have to make out the content?  What Brown does, in my view, like De Kooning – although obviously not as well – is to make paint look good on the surface; she uses a mix of “squirming marks, flurries and squiffs of paint” (Searle’s words), to which you might add scrapes, scratches, scrawls, drips and areas of flat colour, often in DK hues, that look great.  Apply the flick test; flick through a book of contemporary painters and you will stop at hers.  Adrian Searle could stop worrying about spotting the half-concealed athletics and enjoy the marks and colours on the surface.  Just because Brown likes a bit of sex, there’s no reason why this should spoil the viewer’s chaste appreciation of her art.

Clyde Hopkins

My partner has just given me a catalogue of this painter’s work from an exhibition at the Francis Graham-Dixon Gallery in 1990.  I’d not heard of him, but he used to be her tutor at Chelsea.  They are staggeringly beautiful, all of them, in brilliant reds, marmalade, black, yellow – lots of dots and heavy black scoring; some of them remind me of Jaap Wagemaker. Fantastic.

 

(This is one of mine, not Hopkins’)

Blackpaint

Tuesday 14th June