Posts Tagged ‘la Strada’

Blackpaint 347 – Bowling, Nicholson, Chelsea and Quinn

June 21, 2012

Tate Britain

Some “new” stuff, worth a look:

Howard Hodgkin, deep resonant green and white, more clear-cut than his usual brushwork.

Catherine Yass video, replacing the Wallinger’s airport hall; this one, of a tightrope walker, startng the transit between two tower blocks in Glasgow, the Red Road site, I think.  He gets about halfway, and then retreats backwards, the winds being too strong.  Sweating palms and clenched sphincter job, for me anyway.  Not sure what the Yass output was; most of it was taken from tightrope walker’s helmet camera.  Wallinger’s was in slo-mo, with added music – don’t think there was music for this one and normal speed…

As part of the Patrick Keiller exhibit, that striking Gursky photograph of the winding black and white roadways, entitled “Bahrain” (very similar to Burtynsky‘s work at the Photographer’s Gallery, technically anyway).

Karla Black, a whole room’s worth of exhibit, huge,long, loose, crumply roll of – wallpaper? with flattened “plates” of pastel powder, each of different colour, poured and compacted along its length.

Next door, fleshy, beige-grey, snail-like coils on individual stands, by Sarah Lucas; a huge, emerald green Tillmans photograph, with the black inky threads trailing and swirling like hair under water; and a couple of Calum Innes works, one blue and yellow game of two halves, the other, black or dark, with Clyfford Still-like “tears” running down.

Elsewhere, a lovely geometric abstract with a rough, yellow/green surface by Winifred Nicholson, called “moonlight and Lamplight” from 1937.

The most striking thing for me there at the moment is the roomful of Frank Bowling’s poured acrylic paintings; blistering, bright colours, reminiscent of John Hoyland (indeed, several of Bowling’s paintings on net are very like Hoyland’s – or vice versa).

Chelsea Degree Show

Opposite the Tate, some seriously good work on show, and the catalogue only £2; there is a white room complex on the ground floor that is particularly good; square arches giving a series of partial views through.  Two big paintings in Popart style, one yellow with bathing suits hanging on a line, the other sort of lilac or mulberry pinky, motif like a frame, I think.  In next space, through an arch, patches of fabric stuck onto canvases in such a way that they overlap the walls.  Through another arch, a sort of campsite scenario set up, with a little camp stove with an orange paper(?) flame twisting and “burning”.  Individually, not so impressive maybe, but seen as a collective piece spreading over the several white spaces, very pleasing.

Also, a number of wall plaques, I suppose you could call them, composed of slatches of pigment of Bram Bogart thickness, with fragments of paper, card or fabric “splatted” onto them, as if stamped into the vivid and various paints with a rubber sole. 

La Strada

Watched this again, and found  Giuletta Masina’s Chaplinesque mugging very irritating.  The relentless comic pathos, determined brutishness of Anthony Quinn and the circus background disguise the harsh essentials of the story – sister dead, sold to a thug for 10.000 lire, beaten, raped (?), humiliated, the murder of the acrobat – it’s not a comedy.  Anthony Quinn is the anti- George Clooney.. or Cary Grant, to get the era right.  Interesting to see the influence of the film; that religious procession was in the Godfather II, surely, and maybe Le Quattro Volte.

Blackpaint

21.06.12

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Blackpaint 271

May 4, 2011

Max Ernst

Bought the Phaidon book on Ernst by Ian Turpin and was surprised by the variety of techniques and effects Ernst achieved over the years, many of which come under the heading of “oil on Canvas”.  frottage (rubbing of pencil et al over a textured surface), grattage (scraping away of paint), decalcomania (laying paper or some other medium onto an area of wet pigment and then shifting it slightly and peeling it away), this latter invented by Oscar Dominguez – as well as collage, of course.  Birds, plants, insects, plumage, jungle, psychomachinery, eyes, thin, overlapping panels of paint (colour fields, in fact) – echoes of Picabia, Magritte, De Chirico, Douanier Rousseau, Dali, even one that looks like a Chris Ofili! (“One Night of Love”, demonstrating yet another technique; coiling twine or string down onto wet paint and then removing it to leave the trail).

My current favourites are “Garden Aeroplane-Trap” from 1935, in which white, bony, plane-ish structures lie in wooden trays piled up into citadels, being crawled or grown over by pink, fuzzy, mollusc-like plants, or maybe shellfish – AND –

“The Robing of the Bride”, 1939.  A naked, elongated, high-breasted woman is cloaked in a robe of rich red feathers which mask her head and face, attended by a green feathered snake-bird man holding a big broken arrow, another long naked girl, and a four-breasted, little green Manalishi thing with a distended belly, picking its nose with a thumb.

What does it mean?  Possible sexual connotations, I would think – and the text refers to Duchamp, if that’s any help.

Phillip Taafe

At the Gagosian Gallery, Kings Cross.  Huge, high white walls, silent, suited security attendants hold the door open for you.  Various painted layers on paper attached to canvas – huge rectangular or triangular works in a range of bright colours; pink, greens, blues, reds,  oranges, often featuring masks (Noh theatre) and harem-like grilles.  Scimitar shapes, one with gold, spidery, bursting fireworks or stars, another like petals cascading down in straight lines.  Faint echoes of Ofili again, and perhaps Gilbert and George without the swearwords.  Wallpaper-ish sometimes, too.

Turner

That strange painting of Napoleon against a garish sunset, contemplating a shell – its in the Tate Britain, the one in which his reflection makes his legs look twice as long.  There’s an Ernst, “Napoleon in the Wilderness”, in which N is contemplating an encrusted, but otherwise naked woman, holding a saxophone-shaped strap thing with an odd little dragon on the end, where the bell should be.  Did Ernst know the Turner?  Turpin makes no mention.

Anthony Quinn

What a brilliant thug he makes in “La Strada”, displaying not the slightest concession to manners, politeness, normal social intercourse anywhere in Fellini’s film, beyond addressing the audiences of his strong man act as “Ladies and Gentlemen” and a nun as “Sister”.  Otherwise, he leans scowling against walls, scratching, smoking into his cupped hand, grunting, swilling wine, roaring about on his motorbike with the caravan thing attached – and fighting and beating people up, of course.  Haven’t seen him as Michelangelo painting the ceiling, but his Gauguin bore some resemblance to Zampano.  Actually, it was Charlton Heston who played Michelangelo, not Quinn (BP, 6th Dec 2011)

I love those Italian films of the early 50s, “Bicycle Thieves” and “Miracle in Milan” for example, with huge blocks of flats on wasteground, Roman ruins, people living in shacks, caves, dressed in odd bits of uniform, forage caps, greatcoats, driving odd vehicles (broomsticks in “Miracle”)…

Van Gogh

Was surprised to read that VG was barred entry to Arles, as a result of a petition by the people, shortly after the ear incident, and was locked up on grounds of public safety; up to that point in the letters, he seemed a peaceful and harmless sort of cove, apart from some mild stalking of his cousin and tiresome religious mania…

Blackpaint

3/04/11