Posts Tagged ‘Schoenberg’

Blackpaint 385 – Light and Resurrection

March 14, 2013

More from Tate Collection at yourpaintings

Another selection of recommendations from pages 11 – 20 of the above:

Arthur Boyd, Bride Drinking From a Creek (1960).  Looks surreal, the bride in her wedding dress kneeling at the creek. a crow in a thorny thicket  to her right – ominous? – but I’ve got an idea it might be something he really had seen.

Gillian Ayres, Break Off (1961).  Another Ayres, but I love this one – reminds me of breakfast, slice of toast… see below.

gillian ayres break off

Alan Green, Check (1973).  New to me – love it.  See below.

alan green

 

Finally, John Golding, CV (1973) – see below.  Looks simple, but there’s a lot going on round the edges of the yellow bit.

John Golding; (c) John Golding; Supplied by The Public Catalogue Foundation

 

Light Show at the Hayward

Light sculptures as the name suggests; some of it just novelty, clever but no real impact.  There are, however, four or five pieces that I found striking or beautiful.  The first is Dan Flavin’s   piece from 1966 -8, Untitled (to the innovator of Wheeling Peachblow).  It’s a rectangle of neon tubing forming a “painting ” of light on the wall – very familiar, but it has grown on me over the years.  

Carlos Cruz-Diez, who was born in 1923 – for some reason, I find it surprising that old artists make these sculptures. spaces, whatever – and who over the years from 1965 has created a number of “Chromosaturations”.  They are suites of empty rooms, each infused with a different, intense colour. icy blue, red, green, yellow; in the connecting zones the colours blend.  If you look at small reflecting cubes suspended from the ceiling, the light appears to change hue – it’s your eyes adjusting.

Perhaps the most spectacular exhibit is Olafur Eliasson’s “Model for a Timeless Garden” 2011.  A pitch-black room, and a line of water features, boiling up like miniature aereated fountains in different shapes, caught in a strobe light.  There is an arcing jet of water, the droplets of which appear like suspended diamonds in the strobe.  It strikes me that one advantage these artists have is that your attention can’t wander; while you’re in that room, there is the “sculpture”, the light, and no escape.

Also worth noting are the James Turrell from 1974, Wedgework V, like a huge Albers made of light – and Bill Culbert’s Bulb Box Reflection II (1975); it took me two or three minutes to realise that the bulb in the mirror was lit up and the one it was apparently reflecting, was not.  How does he do that?

Interesting that, apart from the Eliason, these are all old pieces – it’s a historical exhibition.  Nothing new about light sculpture.

Schoenberg’ s 2nd Chamber Symphony and Elgar

Listening to the Schoenberg the other day, I noticed a repeated phrase that I thought was from an Elgar piece.  I googled “Schoenberg and Elgar” and was gratified to find a Guardian article by Tom Service in 2010; in it, Service pointed out that the opening few bars of the Nimrod Variations appears in some fragmentary Schoenberg transcriptions, almost note for note.

The phrase I think I have identified is from Elgar’s Falstaff.  It appears repeatedly, but the Schoenberg piece imbues it with a feeling of unease which is absent from the Elgar.  I don’t know enough about music to describe how he does this.  It’s a beautiful piece, not much like the twelve tone experimentation he is known for.

Ordet

This astounding film from Carl Dreher, made in Denmark in the 50s, was on TV the other day.  I recorded it and watched it from a sense of duty at first – black and white, harsh dunes landscape, devoutly believing Danish farmers, an obsessive who thinks he is Christ come again, driven mad by studying the works of Soren Kierkegaard(!).  I laughed at the absurdity at first and then found I was gripped by the story – would the daughter-in-law die after the stillbirth… yes.  Would the obsessive try to resurrect her?…yes.  Would he manage it?   not going to tell you.

??????????

 

Blackpaint

14.03.13

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Blackpoint 32

January 8, 2010

Painting Abstraction – New Elements in Abstract Painting by  Bob Nickas

Very short one today.  Did Conceptual art yesterday, so I’ve been looking at  the above book which is exclusively about painting.  I realise that what I really like in painting is texture – a whole lot of the paintings in this book, although striking in many ways, colour, design, pattern, lack texture; that is to say, they are too smooth.  For me, a surface must be bumpy, clotted, smeared, grooved, gravelled, charcoaled, sanded, glassed, ragged or even fag-butted – or at least, it ought to look like it a bit.

Likewise the paint – it should be smeared, spattered maybe, thick here, thin and dry-brushed there.  Airbrush is OK, if, like Oehlen, it is sploshed and dragged over with a hand brush. 

So that’s why, in the above book, I look at Elizabeth Neel and Allison Miller and Amy Sillman and Katy Moran, before, say, Tomma Abts.

Listened to Schoenberg’s 2nd Chamber Symphony and realised that the first part is based around a figure that is note for note (it sounds to me) the same as one in Elgar’s “Falstaff”.  Coincidence, for sure.

Also “May you never” by John Martyn.

“And you never talk dirty behind my back,

And I know that there’s those who do…” 

Blackpaint

07.01.10