Posts Tagged ‘Victoria Miro’

Blackpaint 638 – Asger, Louis, Lorenzo and the Singing Raspberry

February 8, 2019

Amadeo Lorenzato, David Zwirner Gallery W1 until 9th February

You’ll have to hurry if you want to see this one – ends on Saturday!  He’s a Brazilian artist, about whom I have no information; don’t even know if he’s living.  The paintings are small, mostly around 19×15 or 16 inches.  They have a strange, “combed” surface – that’s to say it looks like he’s run a comb through the wet paint.  Most are titled “Untitled” and these three are all undated.  Dates for the others are 1971 – 1993.  There are two that look a little like miniature Hockneys, those treescapes of Yorkshire he’s been doing over the last few years.  The Zwirner Gallery is in Grafton Street.

 

 

 

Asger Jorn, Per Kirkeby, Tal R, Victoria Miro Gallery W1 until 23rd March

Jorn and Kirkeby among my favourite artists; never heard of Tal R and he seems to me to be unlike the other two.  The Guardian reviewed this exhibition last Saturday and dealt only with Tal R, whose works, the reviewer found, concealed perhaps sinister secrets behind the unrevealing facades and fences in his works.

Jorn and Kirkeby both dealt with Scandinavian myth and also with historical themes; Stalingrad and the battle of Copenhagen come to mind, both Jorn, I think.

 

Asger Jorn, “Overlord and Underlings”, 1951

Typical Jorn mythic figures…

 

Per Kirkeby, “Untitled”, 1964

 

Tal R, “punta de chroores”, 2006

That’s not Tal R in the picture, but a punter, rapt, by the look of him.  Oil and pins on cardboard, wood, artist-made frame.

 

Per Kirkeby, “Untitled”, 1964

Very Jorn-like, this one, with the floating jelly fish figure emerging from the black and reaching towards the reddish outline figure (looks like a female symbol or one of those Egyptian crosses, an ankh).

 

Jorn, “Aurorapide”, 67-68

Lovely, thick, swirling paint…

 

Jorn, “Untitled”, 1943

 

Jorn, “Black Lac Blues”, 1960

Great title, great painting – love the crusty, creosote-y surface.

 

Richard Pousette-Dart, Pace Gallery, Burlington Gardens W1 until 20th February

Pousette-Dart is the lost Abstract Expressionist – he was in the famous photo with Pollock, Kline, de Kooning, Rothko et al, Hedda Stern the only woman, in the foreground.  To be honest, the smaller works like that below strike me as not especially great; they look to me a little like surrealist automatic drawings, or maybe the early Rothkos.  Most of the pictures are the usual Ab-Ex size, that is to say huge; they are “all over”, densely coloured and figured canvases like those of Mark Tobey – another “Ab-Ex” who really wasn’t.

Lorenzo Lotto, National Gallery

This is absolutely the best free exhibition in London at the moment; several of the portraits are up there with Holbein – well, nearly, overstated a little maybe – and there is a madonna and child with a couple of saints in which the colours are superlative; Mary’s dress is a sort of raspberry which sings against blues and a lovely ochre.  No photos, I’m afraid.

Louis Malle’s Films

Lacombe, Lucien (1974)

Got a box set of 10 Malle films for £25 from Fopp at Cambridge Circus; same box costs £54 odd at the BFI.  Tragically, Fopp is owned by HMV, so its demise might not be far away, if this Canadian buyer decides not to keep it afloat.  Where will all the old gits like me go to get their CDs, DVDs and vinyl?  Another one gone into the darkness, maybe, like Gaby’s and Koenig and Blackwells a while ago…

Anyway, I’d always thought that Malle was a bit soft, bit romantic; turns out not so.  Seen six so far, and apart from “Zazie Dans le Metro”, they have all been about transgression.  “Lift to the Scaffold” is about murder, both planned and random, “The Lovers”, adultery (and child desertion), “The Fire Within”, alcoholism and suicide, “Murmur of the Heart”, incest (mother and son) and “Lacombe, Lucien”, collaboration with the Nazis and anti-semitism.  So quite strong stuff, but done with a light touch.  His use of music is brilliant too.  Scaffold has Miles Davis, Lovers a Brahms string quartet, Fire, Eric Satie, Heart, Charlie Parker –  and Lucien, Django Reinhardt.  I can’t think of a more exciting opening than Lucien tearing along country lanes on his bike to the strains of Django and Grappelly tearing through “Swing 42”.

 

Dream South Bank

Blackpaint

07/02/19

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Blackpaint 621 – Abstract All the Way, Today – apart from Two Deers and Picasso

June 9, 2018

The Shape of Light, Tate Modern

An exhibition which explores the way abstract painting and abstract photography have interacted since, I guess, the teens and twenties of the last century up to today.  Consequently, it’s both huge and incomplete.  Some examples below:

 

 

 

 

I didn’t note who the painters and photographers were, but the usual suspects were there – Van Duisberg, Moholy-Nagy, Arp, Kandinsky, Brassai, Man Ray and so on.  I liked Siskind’s scratched brickwork and blistered paint and the views from the top of buildings down stairways of Moholy-Nagy.

Later sections with work by Bridget Riley et al.  Lots of rooms, lots of work and my usual problem with numerous monochrome abstract photos – the skidding eye…

 

Ed Kienholz, America My Hometown, at Blain/Southern (Hanover Square) until 14th July

Like Rauschenburg, sometimes, without the paint swatches mostly, and with a rougher sense of humour.  The exhibition “traces Kienholz’s formative years (1954 – 1967)” says the sheet.

The Little Eagle Rock Incident (1958)

 

The Nativity (1961)

A Gift for a Baby (1962)

The American Way, II (1960)

Kienholz, once resident in the back of the legendary Ferus Gallery, and an associate of Walter Hopps (read Hopps’ memoir as an antidote to the usual art BS), drove a pick up truck with “Expert” blazoned on the side, got his material from scrapyards, made scandalous tableaux (“Hoerengracht” for instance) and was buried – when dead, of course –  in his car.  Fabulous stuff.  See also the film “The Cool School”, about Kienholz, Hoppe, Irving Blum and the Ferus Gallery.

Downstairs at Blain/Southern is Erika Nissinen, a Finnish artist whose work is not easily describable, but is grotesque, funny and requires a visit.

Transcendental Accidents (The Aalto Natives) 2017-18

 

Surface Work – Women Artists at Victoria Miro Mayfair until 16th June – so hurry.

The sheet describes this as an “international, cross-generational exhibition” which is “a celebration of women artists who have shaped and transformed…..the language and definition of abstract painting.”  Others on show include Krasner, Hedda Sterne, Agnes Martin, Lygia Clark. Prunella Clough and loads more.  The Frankenthaler and the Thomas are not typical – there is Constructivist, minimalist, and geometric pieces too.

Helen Frankenthaler – Winter Figure with Black Overhead (1959)

Alma Thomas – Untitled (1961)

Picasso 1932, Tate Modern – yet again + stages of Guernica

I’ve been again, and I thought it might be worth mentioning that there is only one of the 1932 paintings, as far as I can see – or maybe one and a half – in which the central image is not defined by a heavy black or dark line.  No doubt this is because he wanted to establish the image ASAP, fix it so to speak, and get on with the next image looming up in his brain – who knows?  Anyway, it’s this one:

Sorry, rather fuzzy image.

I’ve just been looking at “Dora Maar, with and without Picasso” by Mary Ann Caws (Thames and Hudson, 2000).  In it is a series of photos of the stages of “Guernica”.  I was interested to see that Picasso originally had a long, muscular, worker-victim’s arm with clenched fist, thrusting straight up, slightly left of centre, where the screaming horse’s head is now.  The horse is arguably the most memorable feature of the painting, so he made the right decision.  With the fist, the painting would have been corny propaganda, like those awful peace things he did in the 50’s, with flute-playing rustics wandering about.  It’s still propaganda, but great.

The Killing of a Sacred Deer, dir. Yorgos Lanthimos (2017)

More epater les bourgeois, like The Square – but horrible.  It contains a sequence in which Colin Farrell, blindfolded, spins with a rifle in the midst of his bound and gagged family, and fires randomly…

The set-up of the plot strangely echoes that of the recent ITV serial “Trauma”, with Adrian Lester as a surgeon who is harried by the father of a youth he has operated on, but who died in surgery.  The father discovers the surgeon had been drinking.  In this film, the pursuer is son not father, but in other respects, oddly similar.  Supposedly “venomously funny”, according to the Telegraph.

 

Ghost Geese fly West

Blackpaint

09.06.18