Posts Tagged ‘Mark Leckey’

Blackpaint 343 – Hansel and Gretel, Staring Eyes and Jones v.Hirst

May 24, 2012

Bauhaus at the Barbican

Bauhaus to me means those Modernist white buildings with big windows and outside staircases, distinctive lettering, smoking artists with staring eyes, wearing overalls they have designed themselves…  This exhibition shows the early Arts and Crafts nature of the movement, buildings designed in wood by Walter Gropius having that Hansel and Gretel quality, or maybe Goering’s Karin hunting lodge.  Some of the early woodcuts on display, by Feininger, Itten and Gerhard Marcks, the latter two new names to me, very German Expressionist.  So that was unexpected. 

 Then there were the dolls, or puppets:  again, some of these were slightly sinister – one called the Executioner, another with a head consisting of an electrical circuit, and, the most memorable one of Paul Klee, with the staring eyes and a laboratory coat.

A set of small, colourful Kandinsky abstracts, entitled “Small Worlds”, consisting of shapes and symbols apparently flying apart, suggesting notes of music to me; of course, Kandinsky believed in synaesthesia, the perception and representation of sound, particularly music, in visual image.  Wasn’t that in Fantasia?

The Oskar Schlemmer figures, slim, androgynous, anonymous, very prevalent – and Schlemmer’s pneumatic costumes from “The Triadic Ballet”.  Furniture, Breuer chairs, nests of pastel coloured tables; teapots, tea sets and “liqueur flasks”, made from nickel silver? looking strangely fragile, awkward and impractical – the handles look difficult to hold and as if they might burn your fingers.  Probably very simple and utilitarian in the context of the times, though.

Trouble with the Bauhaus stuff is that it’s had a fair amount of exposure over the years – I remember a really big Bauhaus exhibition at the V&A, I think, a few years back, so seen all this before.  Good, though.

Damien Hirst at White Cube

An interestingly vitriolic review of these paintings by Jonathan Jones in the Guardian, entitled “A message to Damien Hirst: stop now, you have become a disgrace to your generation”.  He says that the paintings fail “to come close…to basic competence”,  that they “lack the skill of thousands of amateur artists who paint at weekends all over Britain”.  He can’t, says Jones, manage to paint an orange accurately; the “poor sphere seems to float in mid-air because of the clumsy circle of shadow below it”.

I won’t quote more from the review as it can be read online, no doubt, but the tone interested me; Jones wrote a similarly savage review of an exhibition by Mark Leckey a while back; like Hirst, once praised and admired by Jones (see Blackpaint 276).

Some of the paintings are reproduced in the Guardian; they don’t look that bad to me, I have to say; the orange looks like an orange and doesn’t seem to me to be at any worse odds with the tabletop than some of the fruit in Cezanne or Bonnard paintings (Hirst seems to be playing about with the picture plane by using a grid of dots in “front” of the table).  OK, they wouldn’t merit an exhibition if they weren’t by Hirst – but not that bad, on this showing.  Have to go and see it now, to see if it really warrants the Jones blitzing. 

Bram Bogart

Obit. in Guardian.  See the book “Intensely Dutch”; he uses paint applied inches deep, even thicker than Appel, great slabs and billows of single colour, white, yellow, red.

And an old one of mine to end with, just gone to a new home;

Brother Angels

Blackpaint

24/05/12

Advertisements

Blackpaint 276

May 26, 2011

Jonathan Jones’ review of Mark Leckey at the Serpentine Gallery

I haven’t yet seen the show, but Jones’ review in Tuesday’s Guardian has to be the most damning I have ever read:  I have to recommend it for the degree of vehemence contained – it’s an artwork in itself.  Several reader comments on Jones’ review assumed it was some sort of post-modern satire (he denies this and asserts it’s a genuine opinion).  A few extracts: the headline refers to “farting about with speakers and screens”; “…how terrible an exhibition I had stumbled into”; “The installation GreenScreenRefrigeratorAction with its bonkers talking gadgets…. is one of the worst works of art I have ever seen in a serious gallery”;  “Nothing prepares you for the stupidity and arrogance of the central exhibit…” – and so on.  Read the review on the Guardian website to feel the heat.

What makes this really intriguing is the review posted under Jones’ name for the 2008 Turner Prize, later won – by Leckey.  Here are some extracts:  “This year I care (about the Turner Prize) because Mark Leckey is on the shortlist..”; “Mark Leckey is a fantastically creative example..”; “I find this artist irresistible..’; and he refers to Leckey’s art as “captivating, mysterious, soulful and provocative.”

I checked and, yes, it’s under Jones’ name on the site, dated 13th May 2008.  So what’s happened – has Leckey deteriorated, or has Jones had a Road to Damascus?  The degree of hostility in the recent review suggests the latter.

Violence in Painting (2)

Wrote about this recently in relation to the Caravaggio Abraham and Isaac in the Uffizi.  I was going to do more on pre-20th century paintings of violence – then I realised the scale of the job! Consider the following:

Goya’s horrors of war, Saturn scoffing his young, the witches, the cudgel fighting, the firing squad;

Various Massacres of the Innocents (Rubens comes particularly to mind);

Crucifixions and scourgings of Christ (Grunewald for instance);

Beheadings, sawings, grillings, stonings, skinnings, piercings by arrow of numerous saints – Catherine, John the Baptist, George, Ursula with her Virgins – 11.000 was it?  Agatha with her breasts on a plate…  that  saint having his thin intestine wound out round a tree.

And none of this is shocking to see; we look at it with perfect equanimity in the National Gallery et al, with maybe a wince at the idea of poor Agatha, say.  So what about the 20th and 21st centuries?

Beckman’s Night;

Grosz’s scenes of murder and suicide in Berlin;

Dix’s mutilated Card Players and corpses in the trenches;

The War artists’ pictures of the two World Wars;

Warhol’s car crashes and fallers;

Marlene Dumas’ Dead Marilyn.

Again, none of these are shocking to us, except perhaps the Warhols, because they are prints of actual photographs.  Bacon’s paintings are still more “violent” and shocking than these actual depictions.

The same can perhaps be said of cinema.  How many genuinely shocking instances of violence in recent TV or cinema?  Very few, since Reservoir Dogs started the intensification process in cinema and CSI followed suit on the small screen; we (or at least, I) have become unshockable – nearly.  So in cinema, this is my short list of shocking moments:

Antichrist, the self mutilation of the Charlotte Gainsbourg character;

The Pianist. Again, self harm, this time Isabelle Huppert:

The Orphanage, when the car hits and kills the old woman;

Salo, the scalpings and blindings at the end – but like St.Agatha, this is more the idea than what is actually seen;

Man Bites Dog, the rape and murder scene;

As for TV, I can only think of the John Lithgow killings on Dexter, which I think really pushed the limits.

The knowledge of reality is all – genuinely shocking and distressing, and destined to remain so, is the footage of people falling on 9/11 and the few seconds of the einsatzgruppen in action and the Kovno murders.

So – that’s enough of this unsavoury topic; didn’t set out to dwell so much, but things kept popping up in my head (worrying, in itself, really).  Next blog on still life and flower painting.

Blackpaint

26.05.11