Wednesday, 29 March 2017

The supreme rifts ... a measured propinquity




The Supreme Rifts ... a Measured Propinquity, at Marian Goodman Gallery, London.


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Gerhard Richter, 930-6 Strip, 2013-2016, (digital print on paper mounted between Alu Dibond and Perspex)

As I wrote in a previous post that included this painting:

This is a painting based on the systematic deconstruction of a photograph of one of his own abstract oil canvases from 1990. He divided the work's surface into two vertical sections, then halved those halves, mirrored the image and repeated the process again and again: 'dividing, mirroring, repeating', as he described it. As the image got halved and squeezed again and again, ever smaller repetitive patterns were produced, reminiscent of Islamic decoration, until at a certain point these horizontal bands took over.

Were he to continue, he explained, the bands themselves would disappear into a kind of optical white noise, and eventual visual silence. At the point when this digital process had generated 4,096 vertical sections, Richter intervened with a rigorous selection process, choosing particular preferred strips with which to continue working. Following one further final halving and mirroring, he had each work printed to his desired scale, resulting in horizontal, rhythmic fields of fine lines of various colours.






looking closer





part of the process exhibited on the ledge next to the painting




Niele Toroni, Empreintes de Pinceau no. 50 a intervalles reguliers de 30 cm, 2016, (acrylic on canvas)








Ettore Spalletti, Mezzanotte, blu, tuttotondo, 2016, (colour impasto on board)





Ettore Spalletti, Paesaggio, 15, 2016, (colour impasto on board)







Niele Toroni, Andata E Ritorno, (orange), 1991, (installation of four canvases, easels - imprints of No. 50 brush repeated at regular distances 30cm)





in the corner, below the ceiling, Niele Toroni, Omaggio Alle Rondini, Acrilico Blu, 1996, (blue acrylic on paper)





Gerhard Richter, Mirror, Grey, 1991, (pigment on glass)

A continuation of Richter's nearly 50-year engagement with grey monochrome, an enduring fascination: 'Grey is the epitome of non-statement'. In this case, no mark-making, instead, reflection. Reflection of the architectural space and in this case, me taking the photograph.

Richter says that forty years ago, he built a narrow corridor and on one wall he hung a grey painting and opposite, a mirror. 'They looked at each other, and you couldn't go in'. He created an illusion of a painting that didn't need a spectator.




Gabriel Orozco, Blackboard Drawing, Nos. 4 and 9, 1998, (silkscreen on blackboard, aluminium, eraser and chalk




on the first floor, on three walls of the first room:





Sol Lewitt, Wall Drawing: Tilted forms with ink washes superimposed, 1988














Gerhard Richter, 6 Panes of Glass in a Rack, 2002-2011 (glass and steel construction)




Gabriel Orozco, Secuncia Modular, 2016 (aluminium)





Monday, 27 March 2017

A few Mayfair snapshots



A spot of colour at the end of Air Street





interesting gate on Regent Street.





Heddon Street - wonderful to sit out here in the summer





Japanese sweets at Minamoto Kitcheoan, Piccadilly.





A sculpture by Lynn Chadwick above the entrance of Fortnum and Mason,  Piccadilly





looking closer






Burlington Arcade, Piccadilly





inside Burlington Arcade






Richoux, Piccadilly





 where we had lunch





always packed



Horse and Rider by Elisabeth Frink, Piccadilly










Green Park












Saturday, 25 March 2017

Edmund De Waal in Leamington Gallery




Edmund de Waal in Leamington Art Gallery.




Stet #14, 2009

A set of 14 cylindrical porcelain pots encased within a long thin cabinet, part of the Journey Through Japan exhibition.





They are all the same, all different, each subtly changing. They vary in height, and in their diameter. In monochrome white and cream glazes, with the addition of one yellow vessel. They are long, thin, thrown at different heights with an additional lip at the opening. They have neither handle nor spout. In the celadon glaze there are 'potash feldspar, dolomite, bone ash, china lay, quartz and talc'.   In the yellow glaze there is 'whiting, flint, talc, dolomite, bentonite and nepheline svenite'. Sometimes there is a fine strip of gold leaf.





This piece is interactive and one is invited to change the order of the pots, which is what I did. Pots are tactile - they need to be touched.

Although the composition of pots is important to the interpretation of De Waal's works, he is interested in the idea of installations that can be changeable. A Stet (Latin for 'let it stand') is an editor's note used for proof reading. It tells the publisher to disregard any former corrections made to a text. Stet #14 conveys the idea that you can do something, make a mark and then it may be changed. It evokes a sense of randomness and enjoyment in the endless rearranging of the vessels.






Thursday, 23 March 2017

Night in the Museum




Night in the Museum, curated by Ryan Gander, at Birmingham Museum and Art Gallery.





The Gas Hall was full of delights from the touring exhibition of the Arts Council collection.




Jacob Epstein,  Rock Drill (polyester resin, metal and wood). The sculpture was reconstructed by Kenneth Cook and Ann Christopher in 1973.






a different view




Barrie Cook, Dean, 1977 (oil applied with spray gun on cotton duck)





Raphael Hefti, from the series 'Substraction as Addition', 2013 (museum glass)





the above sculpture reflected in Matthew Darbyshire, CAPTCHA No. 21 - Doryphoros 2016, (multi-wall polycarbonate)





Angela Bulloch, Plastic Sphere Cube Triangle (blue) 2010, (plastic, electronic, blue fluorescent lamps, DMX-Controller and assorted black cables)





Frank Dobson, Portrait Bust of Lady Keynes (Lydia Lopokova), 1924





Ralph Brown, Mother and Child, 1954 (bronze)





looking closer



Henry Moore, Seated Figure against a Curved Wall, 1956-67 (bronze)












Kevin Jonzen, Seated Nude, 1951, (terracotta)





Sean Scully, Wall of Light Blue, 1999, (oil on linen)




Leonard McComb, Young Man Standing, 1963-77, (bronze)





Kenneth Martin, Chance, Order, Change 2, 1976, (ultramarine blue)




Don Brown, Yoko XX,  2007, (acrylic composite, gesso and wood)








Stella Steyn, Girl in Blue Dress, 1951, (oil on canvas)





Frank Dobson, The Fount, 1947-48, (patinated plaster)








William Scott, Berlin Blues 6, 1966 (oil on canvas)





Lynn Chadwick, Cloaked Couple 1, (Jubilee Maquette), 1977, (bronze)





Ben Nicholson, Feb 25 1953 (contrapuntal), 1953, (oil on canvas)





John Davies, Figure with Slats, 1973-75, (fibreglass, polyester, cloth and emulsion)
















Germaine Richier, La Feuille, 1948, (bronze)





Edgar Degas, Dancer at Rest, 1870-1900, (bronze)





F.E. McWilliam, Reclining Figure, 1946, (terracotta)










Ryan Gander, As Old as Time Itself, Slept Alone, 2016 (bronze and wood)




This delightful sculpture is one of eight new works commissioned by the Arts Council Collection to mark its seventieth anniversary year. It was inspired by The Little Fourteen-Year-Old Dancer, by Edgar Degas. Gander became fascinated by the ballerina's melancholic stance, her body tethered by the 'ball and chain' of her plinth. Gander's dancer is wearing a modern-day leotard rather than a tutu, and she is accompanied by her white plinth and a blue cube, which for Gander represents the realm of contemporary art. She lies asleep on the floor, exhausted by her explorations of the contemporary art gallery, She finds shelter by the large blue cube, and keeps close by her little white plinth, which has shrunk to a toy-like scale.





Patrick Caulfield, Dining Recess, 1972 (oil on canvas)





Henry Moore, Head of a King, 1952-53 (bronze)





Kerry Stewart, Untitled (Lucy), 1996, (fibreglass and paint)