tag:blogger.com,1999:blog-91170765456436315582024-03-05T23:39:31.547-08:00Assisted ReadymadeViews are one hundred percent my own, in no way are meant to cause offence or cause conflict I will do that to the art.Michaelhttp://www.blogger.com/profile/07846297315621923248noreply@blogger.comBlogger60125tag:blogger.com,1999:blog-9117076545643631558.post-82253686722152586392021-07-02T22:54:00.001-07:002021-07-03T01:12:59.642-07:00Name that painting....<p></p><h3 style="text-align: center;">Can you guess the name of this painting ?</h3><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYYxMw3T1tZtZDWzWjozzjcRFl8VA64h5Bdag0hP95lyzR7P5If9xbo7wWaxWR2IhMyljeLJUob8FQkgs5iD-FLS_iqMlqsoAiIDJvjtebXZtyXZ_dlT8bCMjLYyLnbE1FAJ1ZiuODZP4b/s720/Slide2.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="720" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYYxMw3T1tZtZDWzWjozzjcRFl8VA64h5Bdag0hP95lyzR7P5If9xbo7wWaxWR2IhMyljeLJUob8FQkgs5iD-FLS_iqMlqsoAiIDJvjtebXZtyXZ_dlT8bCMjLYyLnbE1FAJ1ZiuODZP4b/w400-h225/Slide2.jpeg" width="400" /></a></div><h3 style="text-align: left;"><div style="text-align: center;">Here are some clues with visual hints...</div><div style="text-align: center;"><br /></div><div style="text-align: center;">Man holding a Glove</div></h3><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC_lyF2fklv8thYqTeXl5V0HAf1sDt6jS7RUZq-X8lctFoS3ybIW5eodtcxCo2vud4eIdz6MV1pIYG4F9f3LZ3SBuxEvL1t2sW6sqrYVeqofxAfQ8Ll7gmdZsu7gDI_HugbEXUJ6eGTcIu/s720/Slide6.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="720" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC_lyF2fklv8thYqTeXl5V0HAf1sDt6jS7RUZq-X8lctFoS3ybIW5eodtcxCo2vud4eIdz6MV1pIYG4F9f3LZ3SBuxEvL1t2sW6sqrYVeqofxAfQ8Ll7gmdZsu7gDI_HugbEXUJ6eGTcIu/w400-h225/Slide6.jpeg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><span style="font-size: 18.719999313354492px; font-weight: bold;">Man with a Rosary</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: 18.719999313354492px; font-weight: bold;"><br /></span></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr73H4QZUy4elxhPJIOAgNMyjQxxE4HrIkBvSA8GRTAoCcVrqWrder6n_LxbmuzOhNRz_ewCRVsJA19nfw2aWW9ZQIo7EPhNKUIePruGd6Zr4jtxeN4Fi-GG5IT_kpHyG5HqLgluWph8hR/s720/Slide5.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="720" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr73H4QZUy4elxhPJIOAgNMyjQxxE4HrIkBvSA8GRTAoCcVrqWrder6n_LxbmuzOhNRz_ewCRVsJA19nfw2aWW9ZQIo7EPhNKUIePruGd6Zr4jtxeN4Fi-GG5IT_kpHyG5HqLgluWph8hR/w400-h225/Slide5.jpeg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><h3 style="text-align: center;">Man with Skull and Pansy</h3><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVHImOizjXASkgpzE_DUTrAjkpoQkI6x7p2jGHKNicYKQuGEp6_AOynTvlyPibBQb00EVgbs6UsaBGSybhNhUxvYMVXz5Kl-9onG1Fl64QyCgmEVcMteVL4hkQukrH2SFiAIOm72zcnLhw/s720/Slide4.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="720" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVHImOizjXASkgpzE_DUTrAjkpoQkI6x7p2jGHKNicYKQuGEp6_AOynTvlyPibBQb00EVgbs6UsaBGSybhNhUxvYMVXz5Kl-9onG1Fl64QyCgmEVcMteVL4hkQukrH2SFiAIOm72zcnLhw/w400-h225/Slide4.jpeg" width="400" /></a></div><br /><h3 style="text-align: left;"><div style="text-align: center;">Yes, you guessed it ...or maybe not</div><div style="text-align: center;"><br /></div><div style="text-align: center;">Portrait of a Woman</div></h3><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFY6Np_vmkQNJ-u1C4nwAFlLEByJm1xlkRc3dhuxcnX1GW7ZUKf_N7BuDwuRO4gHan2YfF3UvJLcd4USrdegdWAHCxutk2Bat_jLc-oUqDGN5k7aNFYnQ605UDo3uZNHgbRXGX2lII97m-/s720/Slide7.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="720" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFY6Np_vmkQNJ-u1C4nwAFlLEByJm1xlkRc3dhuxcnX1GW7ZUKf_N7BuDwuRO4gHan2YfF3UvJLcd4USrdegdWAHCxutk2Bat_jLc-oUqDGN5k7aNFYnQ605UDo3uZNHgbRXGX2lII97m-/w400-h225/Slide7.jpeg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><h3 style="text-align: center;">????</h3><h3 style="text-align: center;">Can someone explain why it's not called </h3><h1 style="text-align: center;">Woman with a Dog</h1><h3 style="text-align: center;">????</h3><div><h3 style="text-align: center;">All four paintings hang together in row</h3></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSpGNlt2eYnGW99AXsnJ72q_7JVXJBS4OYm9sJmvCQIe6xG0mjeQbIDoKxhGjWQuxlC21DnM6dBLNUd8KlEihyphenhyphenjmkznWJ-Wsv3LGcskpxgmGfD0aK5JD2UGmRVW4cMLM-Fxfz63XLJhEnx/s720/Slide3.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="720" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSpGNlt2eYnGW99AXsnJ72q_7JVXJBS4OYm9sJmvCQIe6xG0mjeQbIDoKxhGjWQuxlC21DnM6dBLNUd8KlEihyphenhyphenjmkznWJ-Wsv3LGcskpxgmGfD0aK5JD2UGmRVW4cMLM-Fxfz63XLJhEnx/w400-h225/Slide3.jpeg" width="400" /></a> </div><div><br /></div><div><span style="font-size: medium;">The National Gallery has another <a href="https://www.nationalgallery.org.uk/paintings/italian-portrait-of-a-woman"><i>Portrait of Woman</i></a> - who looks like a girl, as well as two called <i> Portrait of a Lady,</i> one <a href="https://www.nationalgallery.org.uk/paintings/french-portrait-of-a-lady">who looks like a woman</a> while the other could at least be called <a href="https://www.nationalgallery.org.uk/paintings/titian-portrait-of-a-lady-la-schiavona"><i>the Dalmatian Woman </i>or <i>Woman with her Profile Bust</i> </a> to make her stand out, then there's one portrait simply titled <a href="https://www.nationalgallery.org.uk/paintings/robert-campin-a-woman">Woman</a>. I used to think <a href="https://www.nationalgallery.org.uk/paintings/french-a-black-woman"><i>A Black Woman</i></a> was a little too stark a title now I see at least it does give this Black woman some distinction amongst the National Gallery's anonymous women and ladies portraits.</span></div><div><span style="font-size: medium;"><br />The National needs more creativity in naming these pictures of unknown woman to at least differentiate them one from another - perhaps they could have a competition to rename these anonymous women or at least give the paintings some distinction with individual titles ?</span></div><br />Michaelhttp://www.blogger.com/profile/07846297315621923248noreply@blogger.com0tag:blogger.com,1999:blog-9117076545643631558.post-4389423365998009472019-11-19T05:17:00.003-08:002019-11-20T02:21:43.013-08:00REVIEW : William Blake at Tate BritainREVIEW : William Blake<br />
Tate Britain<br />
Until February 2020<br />
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Despite having brought Tate's <a href="https://shop.tate.org.uk/newton-unisex-long-t-m---william-blake-/23942.html?">William Blake Newton T shirt </a>and Doc Martens <a href="https://www.ebay.com/itm/DR-MARTENS-1461-3-EYE-WILLIAM-BLAKE-THE-HOUSE-OF-DEATH-LEATHER-SHOES-22874102-/142825457883">Blake's House of Death</a> inspired shoes I didn't buy the exhibition's catalogue to Tate's vast, all embracing exposition of Blake's work, I'll come back to this matter.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJDkckg0oVA1H5IsrcmZaVDYvDgtII0xvqdNZXAwNOmfEvgYfuGJuNJTxkw5PKr77n0lnzBUlIhuIeUtFEfV7bWfG-DuaCE28UJohH02T8pL80c2bX3EW2u8KXQQQOWYf2_Xr-4yTYRtl1/s1600/newton.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="560" data-original-width="730" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJDkckg0oVA1H5IsrcmZaVDYvDgtII0xvqdNZXAwNOmfEvgYfuGJuNJTxkw5PKr77n0lnzBUlIhuIeUtFEfV7bWfG-DuaCE28UJohH02T8pL80c2bX3EW2u8KXQQQOWYf2_Xr-4yTYRtl1/s320/newton.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">William Blake <i>Newton </i>1795–c.1805<br />
Colour print, ink and watercolour on paper, 460 x 600</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw0qrQlEA0FWyRjdjzasfWpL9lK-eD4DhXiR5YYR8ctEUfuukPc6lPzr7MGXZ8_EBRoEAJkf4T9ihbBRAsLugRwaIYSXIVvFGPsTtP-Alw_rfmtfPvAta0B83-1B0JazJFF8GgpnfPpF-v/s1600/newton.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /><img border="0" data-original-height="866" data-original-width="1427" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw0qrQlEA0FWyRjdjzasfWpL9lK-eD4DhXiR5YYR8ctEUfuukPc6lPzr7MGXZ8_EBRoEAJkf4T9ihbBRAsLugRwaIYSXIVvFGPsTtP-Alw_rfmtfPvAta0B83-1B0JazJFF8GgpnfPpF-v/s320/newton.png" width="320" /></a></div>
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To celebrate my visit I was wearing two of my favourite works by him Newton and the House of Death so couldn't resist having my picture taken with both works along with the thought 'What would Blake think of me wearing his images?' I'd like to think he'd approved as was an innovator in art in his day so we wearing his work, spreading the word.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGyrsDwoBlm6yr9_9otBIVhzystdpMNrYVMoS6YRiigq6wZ1455IG0FJ3VmGjlq9lLfbrpt2__j5-QPZoSs28rPj4QpgwxpR-_YgDwW-lNAv8WAn-Fea5gnxTgcX8f38om077KFH4Y_JwA/s1600/house+of+death.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="583" data-original-width="730" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGyrsDwoBlm6yr9_9otBIVhzystdpMNrYVMoS6YRiigq6wZ1455IG0FJ3VmGjlq9lLfbrpt2__j5-QPZoSs28rPj4QpgwxpR-_YgDwW-lNAv8WAn-Fea5gnxTgcX8f38om077KFH4Y_JwA/s320/house+of+death.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">William Blake <i>The House of Death </i>1795–c.1805<br />
Colour print, ink and watercolour on paper 485 x 610 mm</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi03zcmp2TP3Q3dnHPoHcNd0-5VFQ18Bjh04cVexAEVpOCidzwbpN07WHzZ0yG6am6vIN25_RzA2ITgPj8yXAev_m6BwIgDlNwMENhIvH3Ki_kUujMjEQC45CKsrkb6mq2nTOmXSW6Torwl/s1600/House+of+Death.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="979" data-original-width="691" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi03zcmp2TP3Q3dnHPoHcNd0-5VFQ18Bjh04cVexAEVpOCidzwbpN07WHzZ0yG6am6vIN25_RzA2ITgPj8yXAev_m6BwIgDlNwMENhIvH3Ki_kUujMjEQC45CKsrkb6mq2nTOmXSW6Torwl/s320/House+of+Death.png" width="225" /></a></div>
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Blake's work was all here from his early works as a copying artist and engraver thru to his final works - illuminated drawings and engravings. So much to see. The exhibition was packed (3pm Friday afternoon) had to queue to see many of the works, joining a line shuffling past a linear display of his work. The speed of the line was dictated by time taken by those who required deep contemplative views of the works on display. This was not a serious issue as there was so much to see while one waited to reach your piece in the series.<br />
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The series I had wanted to see was <i>Songs of Experience and Songs of Innocence</i> it<i> </i>had some of the shorter queues as rather than all being displayed lineally they were displayed like on open book in the round - it worked well. They had the highlight of <i>Songs of Innocence</i> there T<i>he Tyger</i> famed for its opening lines<br />
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<i>Tyger Tyger, burning bright, </i></div>
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<i>In the forests of the night; </i></div>
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Sadly they didn't have the pages I wanted to see on display, more of that later.<br />
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I didn't realise just how gifted he was as an artist, copier and engraver. His engraving of Hogarth's<i> </i>1731 <i>A Scene from the popular play ‘The Beggar’s Opera’</i> which I know from Tate Britain was wonderful.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVBp9EbIy9fIDf4klS3hNrBtKAj5Lp6bn6ehSHCWOAAmscWSbHuEk1FkDUed2PZPFFFl_bJDHlpa17YUrLPeq_I953FLd1_1CVjpy1KIzcxuPERK_00ggSjSSIJ-FIbjQFxdJO_RQ-gCQz/s1600/Blake+Beggar.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1173" data-original-width="1536" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVBp9EbIy9fIDf4klS3hNrBtKAj5Lp6bn6ehSHCWOAAmscWSbHuEk1FkDUed2PZPFFFl_bJDHlpa17YUrLPeq_I953FLd1_1CVjpy1KIzcxuPERK_00ggSjSSIJ-FIbjQFxdJO_RQ-gCQz/s400/Blake+Beggar.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i style="text-align: start;"><span style="font-size: x-small;">A Scene from the popular play ‘The Beggar’s Opera’</span></i><span style="text-align: start;"><span style="font-size: x-small;"> </span></span><b>William Hogarth original 1731</b></td></tr>
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He was probably paid about £53 for his beautiful commissioned engraving, according to its exhibition plaque. At the same time a tradesman or shopkeeper might have had an income of £80-150 a year and middle class professional earned £200-500 per year so depending on his productivity he might well have had a middle class professional income. His work was a wonderful rendition of the original but it raised a question....<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLSVm83RW3mjpvA74swcTRxy3NJWZh9Her-XiIqylVC4_nVFi8R8JSwNxm4nx34TNmdreHNPQuWz6x2n5isT2L10iEuKCQuSRto82iwq2dHRQ-kVCN4LRNESOAFSbQAJw_H0EvVBgCfTPw/s1600/Blake+Beggar+Hogath.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1162" data-original-width="1536" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLSVm83RW3mjpvA74swcTRxy3NJWZh9Her-XiIqylVC4_nVFi8R8JSwNxm4nx34TNmdreHNPQuWz6x2n5isT2L10iEuKCQuSRto82iwq2dHRQ-kVCN4LRNESOAFSbQAJw_H0EvVBgCfTPw/s400/Blake+Beggar+Hogath.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i style="font-size: 12.8px; text-align: start;"><span style="font-size: x-small;">A Scene from the popular play ‘The Beggar’s Opera’</span></i><span style="font-size: 12.8px; text-align: start;"><span style="font-size: x-small;"> </span></span><b style="font-size: 12.8px;">William Blake engraving 1790</b></td></tr>
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I was struck by the question why didn't Hogarth, a good businessman and a master engraver himself, make an engraving of this picture of this popular play sixty years earlier ?<br />
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A paper by Marvin A. Carlson [1] argues Hogarth's reluctance to make an engraving of this painting can be found in the satire within the paintings such as the satyr, the lustfull drunken woodland god depicted above the Duke of Bolton, serving iconographically to suggest the satire of both the painting and the play portraying, and reinforcing the Duke of Bolton's lascivious attention on his, then lover, the white-gowned actress Lavinia Fenton playing Polly Peachum. The finger of the satyr's carelessly dropped hand clearly indicates the Duke as the source of his licentiousness. Such pointed satire would be much appreciated in a painting done for a particular patron, but it would have been dangerous in a widely distributed engraving while all the principals were alive and in positions of wealth and influence.<br />
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<b>The Little Black Boy</b><br />
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The work I would have loved to have seen on display but sadly wasn't was from <i><a href="https://www.poetryfoundation.org/poems/43671/the-little-black-boy.">Songs of Innocence The Little Black Boy</a></i> A christian poem - a dialog between a black mother and her son - the words of the son speak of the hardship of being black '<i>But I am black as if bereav'd of light'</i> and his mother's response encouraging him to endure and of love of God, the poem closes with the little boy speaking of the equality of black and white children before God. An anti-slavery poem written in 1787 twenty years before the slave trade was abolished.<br />
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As the page wasn't on display I went to the room in the upper level of the Turner Gallery which normally houses Blake's work including a version of <a href="https://www.tate.org.uk/sites/default/files/styles/width-720/public/songs_of_innocence_and_of_experience_open_at_the_little_black_boy_1794.jpg">The Little Black Boy page</a>. Tate's page was not on display instead there was an excellent little exhibition to compliment The Blake Exhibition - <a href="https://www.tate.org.uk/visit/tate-britain/display/spotlights/ancients-and-moderns-legacies-william-blake"><i>Ancients and Moderns: Legacies of William Blake</i>.</a> The display showed Blake's influence on British artists in the nineteenth and twentieth centuries, the display included works by Sammuel Palmer, Paul Nash and others tackling mystical and religious themes and ideas, but no Little Black Boy....<br />
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So I have created my own images....<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiOQIvniDJTR0CUUprOLj3cgh7fsFdqwrR6s1Y5byh__igG79j17PZtChcQlPjFPQUAXlD2CMsgzUqCXCOY8E6PBk3yw016GTCqeNW8Zp1fcADIlP60QppYXTx-KI_Ci8AsUM9L85a4RIH/s1600/Screenshot+2019-11-17+at+07.29.56.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="832" data-original-width="1600" height="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiOQIvniDJTR0CUUprOLj3cgh7fsFdqwrR6s1Y5byh__igG79j17PZtChcQlPjFPQUAXlD2CMsgzUqCXCOY8E6PBk3yw016GTCqeNW8Zp1fcADIlP60QppYXTx-KI_Ci8AsUM9L85a4RIH/s400/Screenshot+2019-11-17+at+07.29.56.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><b>The Little Black Boy Page</b></i> from<br />
William Blake (1789) <i>Songs of Innocence</i></td></tr>
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In the three pages' images you can see his work as the engraver, hand finishing the engraving to create an individual, unique work not just simply a page of poetry but a beautiful work of art helping the reader understand and interpret poem.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVXcmoP2-_FORYIH4CAaf2h08m2ndicUzN9_-nFVCYneJcW0akVmJQZpiCJZbBlBUljZlZ4hGCcCFpGEEnNLVKxyXlkB628l06bmg7k5GaRHuRhXVvs0ws2Xt1eqQIDrfa0q4dDWJWNpza/s1600/Screenshot+2019-11-17+at+07.45.05.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" data-original-height="1036" data-original-width="1600" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVXcmoP2-_FORYIH4CAaf2h08m2ndicUzN9_-nFVCYneJcW0akVmJQZpiCJZbBlBUljZlZ4hGCcCFpGEEnNLVKxyXlkB628l06bmg7k5GaRHuRhXVvs0ws2Xt1eqQIDrfa0q4dDWJWNpza/s400/Screenshot+2019-11-17+at+07.45.05.jpg" title="" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><i>Songs of Innocence of Experience</i> on sale for 9.99 at Tate's shop</span></td></tr>
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I didn't buy the catalog or the book as I wanted to have <i>The Black Boy</i> set amongst Blake's work to show he was an engraver, an artist, a free thinking individual who believed in humanity, a visionary, a man ahead of his time.<br />
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My take away was just how prolific Blake was - his mind and hand roamed far and wide producing so many extraordinary images and ideas, many unfathomable, often idiosyncratic but all engaging to one degree or another - brilliant exhibition, fully recommended!<br />
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......one last point I mentioned at the dinner after the last <i><a href="https://blackbritishhistory.co.uk/whbbh9/">What's Happening in Black British History </a></i>workshop that I was going to see Tate's <i>William Blake</i> exhibition I was reminded that <a href="https://en.wikipedia.org/wiki/Jim_Morrison">Jim Morrison</a>'s <a href="https://en.wikipedia.org/wiki/The_Doors">Doors </a>was named after a work inspired by Blake - Aludus Huxley's <i><a href="https://en.wikipedia.org/wiki/The_Doors_of_Perception">'Doors of Perception'</a></i> which takes its title from a phrase from Blakes 1793 poem<i> The Marriage of Heaven and Hell</i>....<br />
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<i>If the <b>doors of perception </b>were cleansed every thing would appear to man as it is, Infinite. </i></div>
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<i>For man has closed himself up, till he sees all things thro' narrow chinks of his cavern" </i></div>
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<span style="font-size: x-small;"><b>[1]</b> Marvin A. Carlson <i>A Fresh Look at Hogarth's "Beggar's Opera" </i>Educational Theatre Journal</span><br />
<span style="font-size: x-small;">Vol. 27, No. 1 (Mar., 1975), pp. 30-39 Published by: The Johns Hopkins University</span><br />
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<br />Michaelhttp://www.blogger.com/profile/07846297315621923248noreply@blogger.com0tag:blogger.com,1999:blog-9117076545643631558.post-71380822747425199972019-09-10T09:45:00.000-07:002019-09-10T22:44:54.825-07:00REVIEW : David Cobley "All By Himself"<span style="font-size: x-large;">David Cobley </span><i><b>All By Himself</b></i><br />
<span style="font-size: large;"><a href="https://www.mallgalleries.org.uk/whats-on/exhibitions/david-cobley-all-himself">The Mall Gallery</a></span><br />
<span style="font-size: x-small;">10am to 5pm (closes at 1pm on final day)</span><br />
<span style="font-size: x-small;">10 September 2019 to 15 September 2019</span><br />
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<span style="font-size: x-small;">Main Gallery </span><br />
<span style="font-size: x-small;">Admission Free</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGtQY1j2_Vt8s7geIV5OZ4tcw5xZf-Fs3-80AxgsAQC-L7XWpaYrAO5Dc0iVuPr9wSkdecaH4gfaG-OQIZBYjbI1zDlM-_MqsRFO82EkSWWjDusq3-WYyO9j6wnuy0jhQUB4fD8gMcnv-I/s1600/cobley.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="807" data-original-width="1114" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGtQY1j2_Vt8s7geIV5OZ4tcw5xZf-Fs3-80AxgsAQC-L7XWpaYrAO5Dc0iVuPr9wSkdecaH4gfaG-OQIZBYjbI1zDlM-_MqsRFO82EkSWWjDusq3-WYyO9j6wnuy0jhQUB4fD8gMcnv-I/s400/cobley.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.davidcobley.com/product-page/david-cobley-all-by-himself"><i>All By Himself </i>monograph cover</a></td></tr>
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I first came across <a href="https://www.davidcobley.com/">David Cobley</a> back in 2011 watching <i><a href="https://www.bbc.co.uk/programmes/b0117kt8">Show me the Monet</a></i> on BBC 2 TV, <a href="https://www.theguardian.com/tv-and-radio/2011/may/09/business-nightmares-review">its Guardian review</a> was really withering, calling it ‘a format that looked tired after 10 minutes’ and referred to David not by name but as ‘an unknown artist who values his paintings at £100,000’, that painting <i><a href="https://www.davidcobley.com/fullscreen-page/comp-jqluvcse/da9c6843-1238-11e9-8c97-12efbd0b6636/4/%3Fi%3D4%26p%3Drc9x0%26s%3Dstyle-jqluvcw41">All By Myself </a></i> is now a play on the title of this major retrospective at <a href="https://www.mallgalleries.org.uk/whats-on/exhibitions/david-cobley-all-himself">the Mall Gallery <i>All by Himself </i> </a>to which I have the great pleasure of attending its Private View.<br />
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I was so looking forward to seeing more of that ‘unknown artist' who regularly exhibits at the Royal Academy Summer school and has two portraits in the National Portrait Gallery: the celebrated Liverpool comedian, <a href="https://www.npg.org.uk/collections/search/portrait/mw83026/Ken-Dodd">Sir Ken Dodd, (2005)</a> and the Nobel prize winning developmental biologist, <a href="https://www.npg.org.uk/collections/search/portrait/mw204276/Sir-Martin-John-Evans?">Sir Martin John Evans (2011)</a> , along with a host of other celebrated sitters his work, now selling for many tens of thousands.<br />
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It was that £100,000 piece that stood out for me, it was captivating, ticking all the boxes the <i>Show me the Monet </i>hanging committee were looking for in a work namely ‘originality, technique and emotional impact’ for me David’s work had it all and more.<br />
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David’s work is special, particularly his portraits, he has a way with the human face not only extracting the personality but the emotions of the sitter. He looks into their soul quite, unlike any other painter I know, he has the power of Velasquez, the stillness of Vermeer and the sympathy of Leonardo. He has reinvented portraiture for me.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFwK0ZP5oba0p9Mm5tJ8sTKZonE_HllUHv9Rv-Ea7U4zvgOnRT_XWQdDj5GO1iEbaxNTfGczAM2tROnjtnKhjzQViiLxjKfaQcmSgNG9-RdTxIaGlJDP_0xP3Kj-A0VZvJYfuD2Z6-1vJL/s1600/Screenshot+2019-09-10+at+17.10.42.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1274" data-original-width="798" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFwK0ZP5oba0p9Mm5tJ8sTKZonE_HllUHv9Rv-Ea7U4zvgOnRT_XWQdDj5GO1iEbaxNTfGczAM2tROnjtnKhjzQViiLxjKfaQcmSgNG9-RdTxIaGlJDP_0xP3Kj-A0VZvJYfuD2Z6-1vJL/s320/Screenshot+2019-09-10+at+17.10.42.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><a href="https://www.davidcobley.com/fullscreen-page/comp-jqluvcse/2a7220b6-44c9-4857-9930-426e93bc476b/6/%3Fi%3D6%26p%3Drc9x0%26s%3Dstyle-jqluvcw41%26rl%3D1"><b>Summer '71</b> </a></i>oil on board 95 x 61.5 cm</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCSpX6hfOAW45L3TRVShCZFFUkFfipoRpyCHolqOlz0C1fFbuqqh4JsJkeTVaS_WDjGavrRDOs3_-UkwfPJlt3_y_b1h8irzSXNJskLyuhM1yLU8Q3DOLZd_cCPcuqArT0Bnu4SggwascN/s1600/Screenshot+2019-09-10+at+17.16.18.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1262" data-original-width="1266" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCSpX6hfOAW45L3TRVShCZFFUkFfipoRpyCHolqOlz0C1fFbuqqh4JsJkeTVaS_WDjGavrRDOs3_-UkwfPJlt3_y_b1h8irzSXNJskLyuhM1yLU8Q3DOLZd_cCPcuqArT0Bnu4SggwascN/s320/Screenshot+2019-09-10+at+17.16.18.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><b><a href="https://www.davidcobley.com/fullscreen-page/comp-jqluvcse/da974295-1238-11e9-8c97-12efbd0b6636/1/%3Fi%3D1%26p%3Drc9x0%26s%3Dstyle-jqluvcw41%26rl%3D1">Doubt</a></b></i> oil on linen 168 x 168 cm</td></tr>
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There were many delights on show at <i>All By Myself </i> from its very entrance with<i> <a href="https://www.davidcobley.com/fullscreen-page/comp-jqluvcse/2a7220b6-44c9-4857-9930-426e93bc476b/6/%3Fi%3D6%26p%3Drc9x0%26s%3Dstyle-jqluvcw41%26rl%3D1">Summer 71</a></i><a href="https://www.davidcobley.com/fullscreen-page/comp-jqluvcse/2a7220b6-44c9-4857-9930-426e93bc476b/6/%3Fi%3D6%26p%3Drc9x0%26s%3Dstyle-jqluvcw41%26rl%3D1"> </a> a very early three quarter length self-portrait in which a confident, 17 year old David looks out at the world, in an open neck white shirt with dark trousers, his righthand in his trouser pocket and left arm loosely at his side the epitomy of youthful self-assurance tinged with innocence A telling contrast to the much later and larger<i> <a href="https://www.davidcobley.com/fullscreen-page/comp-jqluvcse/da974295-1238-11e9-8c97-12efbd0b6636/1/%3Fi%3D1%26p%3Drc9x0%26s%3Dstyle-jqluvcw41%26rl%3D1">Doubt </a></i><a href="https://www.davidcobley.com/fullscreen-page/comp-jqluvcse/da974295-1238-11e9-8c97-12efbd0b6636/1/%3Fi%3D1%26p%3Drc9x0%26s%3Dstyle-jqluvcw41%26rl%3D1">(1995) </a>self-portrait, completed when David would have been 41. Twenty-seven years after <i><a href="https://www.davidcobley.com/fullscreen-page/comp-jqluvcse/2a7220b6-44c9-4857-9930-426e93bc476b/6/%3Fi%3D6%26p%3Drc9x0%26s%3Dstyle-jqluvcw41%26rl%3D1">Summer 71</a></i> David is not looking out, he is look down, we are below looking up at him, that aura of youthful confidence has given way to a tired introspection that comes with age, perhaps hinted at in the works title.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj89AQJ_UKY3zolCYVr9xk0JSQb_yhwzJTxJV55w7DgjAE6kUAJmGzMvFnTE1Jd4qyGRteXNDtr40sDgCFvupHhzxnC9ajQwtYtsDyKz-HAIKvj3WrNYFDg3UcaLHqbcag7AZccv5ZHF37g/s1600/Screenshot+2019-09-10+at+17.21.19.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="904" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj89AQJ_UKY3zolCYVr9xk0JSQb_yhwzJTxJV55w7DgjAE6kUAJmGzMvFnTE1Jd4qyGRteXNDtr40sDgCFvupHhzxnC9ajQwtYtsDyKz-HAIKvj3WrNYFDg3UcaLHqbcag7AZccv5ZHF37g/s400/Screenshot+2019-09-10+at+17.21.19.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><i><a href="https://www.davidcobley.com/fullscreen-page/comp-jeidh7y8/e5639851-22bb-11e8-be88-12dd26dd586a/14/%3Fi%3D14%26p%3Dlf0cz%26s%3Dstyle-jejzatln%26rl%3D1">Bandwagon To Oblivion</a></i></b> oil on linen 117 x 213.5 cm</td></tr>
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David knows how to capture the human condition be it in in portraiture or in the nude he knows how to capture emotions, feelings. On a purely personal basis I prefer the portraits to the nudes as the faces he portrays tell stories of lived lives, of their happiness, ambition, hope, despair, sadness the ups and downs of the human condition, David’s work expresses and exposes it all.<br />
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Two works really demonstrated this for me: <i><a href="https://www.davidcobley.com/product-page/here-we-all-are-3">How We All Are (2013)</a> </i>and <i><a href="https://www.davidcobley.com/fullscreen-page/comp-jeidh7y8/e5639851-22bb-11e8-be88-12dd26dd586a/14/%3Fi%3D14%26p%3Dlf0cz%26s%3Dstyle-jejzatln">Bandwagon to Oblivion (1992)</a></i>. Here we have Norman Rockwell graphic realism commenting on America life with its vivid colours and compositions colliding with the densely populated human dramas found in the works of Pieter Bruegel the Elder or Hieronymus Bosch. Stunning!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf4Kb5mZhniutOOGY_LFslklmv4JzlYL4OBJSRyIiWyVdwx-vBdvhZ4kz7b34sTn1GtQNFBBQCkivVwtVxTazT7WBl7zQm-twvTUwFkLPaISN1nJbkM3rWizpS0_S4VKTZuviDv1rpBaDp/s1600/IMG_7517.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf4Kb5mZhniutOOGY_LFslklmv4JzlYL4OBJSRyIiWyVdwx-vBdvhZ4kz7b34sTn1GtQNFBBQCkivVwtVxTazT7WBl7zQm-twvTUwFkLPaISN1nJbkM3rWizpS0_S4VKTZuviDv1rpBaDp/s400/IMG_7517.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><i><a href="https://www.davidcobley.com/product-page/here-we-all-are-3">Here We All Are</a></i></b> [£59,000.00] (2013) oil on linen 200 x 225 cm</td></tr>
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The standout work in the Exhbition was the work that which introduced me to David – <i>All By Myself</i> (1998) – still with its £100,000 price tag. Described in the exhibition's packed monograph as<br />
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<i>a therapeutic and cathartic picture of a singular subject, himself, but in a plethora of styles by a multiplicity of celebrated artists.</i></blockquote>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSpTUOkAGYK63hcmgYkT6OksA_cLTbKzqO0Z5rPhcT6iuJ3SFDGdyW8QfLDPWDR8iRbAjsVgExU8HDK2eU3PRTdJQVSF1V6A6eMcy_cbxtXVTFcjbDav73J4iD71Rdtqt-z_ItRA3qCN7X/s1600/Screenshot+2019-09-10+at+17.04.25.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1284" data-original-width="1276" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSpTUOkAGYK63hcmgYkT6OksA_cLTbKzqO0Z5rPhcT6iuJ3SFDGdyW8QfLDPWDR8iRbAjsVgExU8HDK2eU3PRTdJQVSF1V6A6eMcy_cbxtXVTFcjbDav73J4iD71Rdtqt-z_ItRA3qCN7X/s320/Screenshot+2019-09-10+at+17.04.25.jpg" width="318" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.davidcobley.com/fullscreen-page/comp-jqluvcse/da9c6843-1238-11e9-8c97-12efbd0b6636/4/%3Fi%3D4%26p%3Drc9x0%26s%3Dstyle-jqluvcw41%26rl%3D1"><b><i>All By Myself</i></b> </a> [£100,000] (1995) oil on linen 121 x 121</td></tr>
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It is 80 self- portraits in styles of canonical artists and one self-portrait in his own idiosyncratic, enigmatic style at its centre making 81 portraits in total arranged in a square, 9 image by 9 image format. When I first saw the work I struggled to find: Durer, Chardin, Arcimboldo, Leonardo, de Kooning, Bacon, Rembrandt, Van Gogh, Picasso, Magritte, David, Dali, (12) with a glass of wine and the assistance of two other Cobley enthusiasts I was able to identify a further eight: Bacon, Klimt, Hockney, Toulouse-Lautrec, Hokusai, Warhol, Escher, Munch. 20 out 80 ! Even then, there were a few we were not fully sure of and where was Rubens, Michelangelo, Rembrandt? Much debate without full agreement those old masters and others wait to be identified by the more knowledgeable. Be great to hear from you if you can name other artists, please send me its co-ordinates based on a 9 by 9 grid, bottom left hand corner (1,1) top right hand is (9,9) so David at the centre is (5,5) and (I’ll give you one of mine!) Picasso (7,2). Look forward to hearing from you.<br />
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I thoroughly enjoyed David Cobley's <i>All By Himself </i> this free exhibition , I recommend it unreservedly, but hurry it closes 15th Sept at 1pm!<br />
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<br />Michaelhttp://www.blogger.com/profile/07846297315621923248noreply@blogger.com1tag:blogger.com,1999:blog-9117076545643631558.post-26795567812226647162018-11-06T04:23:00.000-08:002018-11-06T04:23:29.561-08:00 Lorenzo Lotto Portraits Exhibition at the National Gallery 05 Nov 2018 to 10 Feb 2019 FREE<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Matthias Wivel explaining Lorenzo Lotto, <i>Portrait of a Lady as Lucretia</i></td></tr>
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<span style="font-family: calibri, sans-serif;">I wasn’t a great fan of Lorenzo Lotto (1480-1557), I much preferred his much better known and much celebrated contemporaries: Raphael (1483-1520), Titian (1488-1576) and of course Michelangelo (1475-1564) my all-time favourite artist. So, when I went to see the National Gallery’s </span><i style="font-family: calibri, sans-serif;">Lorenzo Lotto Portraits </i><span style="font-family: calibri, sans-serif;">exhibition which brings together Lotto’s portraits spanning his entire career, I wasn’t expecting much. I could not have been more wrong.</span><div class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm 0cm 0.0001pt;">
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I found <i>Lorenzo Lotto Portraits </i>a profoundly moving, learning and exciting experience; I was deeply moved by the quality of Lotto’s portraiture, I learned something very new to me about the framing of paintings from the period, and was really excited to see another innovatively curated exhibition from the brilliant Matthias Wivel the National’s curator of its 16th century Italian paintings. </div>
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Twenty-eight of Lotto’s portraits are presented in chronological over four rooms of the National’s ground floor gallery space. Room one explores Lotto’s work from his time in Treviso (1503-06), room two has his portraits from Bergamo (1513-49), room three those from his time in Venice (1525-49) and finally room 4 is dedicated to his late works.<o:p></o:p></div>
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<span style="color: red; font-size: large;">The Portraits</span></h2>
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<tr><td class="tr-caption" style="text-align: center;">Lorenzo Lotto, <i style="font-size: 12.8px;">Portrait of an Elderly Gentleman with Gloves (liberale da Pinedel)</i></td></tr>
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Each of Lotto’s portrait has a personality I’d never noticed in his work before, in contrast to his contemporaries Lotto was painting the person not the position. Portraits by Titian and Veronese were monumental, designed to show the status and gravitas of the sitter. Lotto on the other hand seems to reach into the person’s soul capturing their humanity. <o:p></o:p></div>
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Quoting Bernard Berenson the art historian, who in 1895 wrote in the first monograph on Lotto: <i>[he] was the first Italian painter who was sensitive to the varying status of the human soul. Never before or since has anyone brought out on the face more of the inner life….<o:p></o:p></i></div>
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I would not go so far, I would look to Leonardo for that crown and later there’s Velasquez, Rembrandt and others. I would however agree with Matthias more measured consideration of Lotto’s portraits, to him they ‘<i>feel more direct, less filtered, than those of his contemporaries notably Titian’s more elevated idealised portraiture…..there is sense of understating what makes each sitter tick’</i></div>
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<tr><td class="tr-caption" style="text-align: center;">Titian,<i> Self-Portrait</i>, around 60</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Titian,<i style="font-size: 12.8px;"> Self-Portrait</i><span style="font-size: 12.8px;">, around 63</span></td></tr>
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I was particularly struck by one of his late works <i>Portrait of an elderly gentleman with gloves (Liberale da Pinedale). </i>Which Matthias pointed out had some of the profound soul-searching depth to be seen in Rembrandt’s portraits. The sitter’s direct steady, contemplative gaze spoke to me putting me mind not just of Rembrandt’s late self-portraits but also penetrating, autobiographical portraits deep in old age by Picasso and Stanley Spencer.<br />
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<tr><td class="tr-caption" style="font-size: 12.8px;">Picasso, <i>Self-Portrait</i>, 90</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Stanley Spencer, Self-Portrait, 68</td></tr>
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<h2>
<span style="color: red; font-size: large;">The Curation</span></h2>
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<tr><td class="tr-caption" style="text-align: center;">Lorenzo Lotto, <i>Portrait of Andrea Odoni</i>, Installation</td></tr>
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<br />The curation is wonderfully innovative as it included objects that relate to or are to be found in the portraits on display, making connections outside the frame, really bringing the portraits to life. <o:p></o:p></div>
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I first saw the National make this type of connection at another exhibition curated by Matthias Wivel the brilliant (to my eye) <i>Sebastiano and Michelangelo </i>(Matthais‘s 60 min analysis of <i>Sebastiano and Michelangelo </i>on YouTube is well worth watching) which had many sculptures and drawings which related to the works on the display, helping to put the works in context. <o:p></o:p></div>
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<i>Lorenzo Lotto Portraits </i>similarly has objects on display beside the pictures they are depicted in, notably the famous likeness of the Venetian collector Andrea Odoni from the Royal Collection. It has several of the objects Lotto surrounds Odoni with in his portrait.<o:p></o:p></div>
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The actual sculptures as seen in the painting including the headless Venus, a much admired piece from the collection of a Paduan humanist who owned the original is on display as well as the bust of Hadrian, not the plaster cast owned by Odini, the one of display is the actual original owned by Cardinal Domenico Grimani, one of the great Venetian collectors of antiquities at the time, all adding interest to Lotto’s portrait of Odoni.<o:p></o:p></div>
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<span style="color: red;"><span style="font-size: large;">Picture Covers</span> </span></h2>
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<tr><td class="tr-caption" style="font-size: 12.8px;">Lorenzo Lotto, <i>Portrait of Bishop Bernardo de’Rossi</i>, Installation</td></tr>
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The objects supporting the portrait of Bishop Bernado de’Rossi in room one introduced me to a completely new view of Renaissance portraiture – the portrait as an active, intimate object. Its label explained that unlike figures of authority personal, family portraits were kept under lock and key making viewing a much more active experience.<o:p></o:p></div>
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Bishop Bernado de’Rossi portrait would originally have had a cover as shown in the picture above. The frame and its cover seemed to have been separated, miraculously the cover survives and was on show. Its cover was an allegory of the life of de’Roissi and included his crest. <o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Lorenzo Lotto, <i style="font-size: 12.8px;">Bishop Thomas Nigris</i></td></tr>
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<span style="font-family: calibri, sans-serif;">There is another example of the picture cover in </span><i style="font-family: calibri, sans-serif;">Bishop Thomas Nigris </i><span style="font-family: calibri, sans-serif;">portrait in room 3 which remarkably is still in its original frame. From its frame we can see that it too once had a cover now sadly lost.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Lorenzo Lotto, <i style="font-size: 12.8px;">Bishop Thomas Nigris </i><span style="font-size: 12.8px;">Detail showing frame cover</span></td></tr>
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<o:p>The portrait cover as evidenced in these two portraits adds a whole new layer of meaning to Lotto’s and other Renaissance portraits – the portrait as an intimate, revered object only to be seen at a specific time my particular people. </o:p></div>
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I came away really impressed by the range and quality of Lotto’s portraits and the concept of portrait covers was a revelation to me. Matthias Wivel’s curation is excellent, really bringing Lotto’s portraits to life, enhancing the viewing experience. I recommend anyone interested in Renaissance art then there is something here for you in <i>Lorenzo Lotto Portraits </i>and it’s free! <span style="color: red;">#Recommended </span><o:p></o:p></div>
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Michaelhttp://www.blogger.com/profile/07846297315621923248noreply@blogger.com0tag:blogger.com,1999:blog-9117076545643631558.post-34120213857292058322018-02-02T02:01:00.002-08:002021-09-29T02:37:45.861-07:00Light Show on Westminster Abbey's Great West Door's Black Presence <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBirdu24LgxboNTCFUDZEL43hGg9QhE43qfXRaQ0P-rxoNJd-18Yl-FveB9OYO3tki_VZWbhq3TeIsFnnegZ84VldZkHB6thgIeBkxKOgiDyNO1OQGO18IsRmP0Ken_L6OQsc3Hh_WCWkc/s1600/Lum+1.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="312" data-original-width="939" height="106" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBirdu24LgxboNTCFUDZEL43hGg9QhE43qfXRaQ0P-rxoNJd-18Yl-FveB9OYO3tki_VZWbhq3TeIsFnnegZ84VldZkHB6thgIeBkxKOgiDyNO1OQGO18IsRmP0Ken_L6OQsc3Hh_WCWkc/s320/Lum+1.png" width="320" /></a></div>
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Patrice Warrener's <a href="https://www.visitlondon.com/lumiere/installation/46121788-light-of-the-spirit-chapter-2#aygJAmcx8peBTMze.97">Light of the Spirit (Chapter 2)</a> part of the Lumiere London 2018 was a rare opportunity for me to combine three of my passions: Contemporary Art, Gothic Architecture and Black History.<br />
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<b> </b><span style="font-size: large;">Contemporary Art</span><b> </b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBXt6UKaf2S8R2VSCo2w432uHUOU8spOIXcv0ien19LbgGmUDs8R8HEvnnI0Y-lvc0vjA5NyH1S2YSc3DcXjVsrtV4avQ2zrjpbZq9YoLlRgGKkhWwhmAUbypqtcfXQTO5A8XDl2eq3j4W/s1600/Lum+2.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="343" data-original-width="454" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBXt6UKaf2S8R2VSCo2w432uHUOU8spOIXcv0ien19LbgGmUDs8R8HEvnnI0Y-lvc0vjA5NyH1S2YSc3DcXjVsrtV4avQ2zrjpbZq9YoLlRgGKkhWwhmAUbypqtcfXQTO5A8XDl2eq3j4W/s320/Lum+2.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stephen B. Whatley (2014) <i>Victoria Harbour, Hong Kong</i></td></tr>
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Patrice's use of colour minded me of one my favourite contemporary artists <a href="http://www.stephenbwhatley.com/">Stephen B. Whatley</a>. Stephen has a distinctive individual, some might say idiosyncratic, colour palate of pastel greens, blues, pinks, reds and yellows which wash into each other in his oil paintings like water colours creating soft, muted edges between colour field forms in which he creates his images for example <i><a href="http://www.stephenbwhatley.com/0_victoria-harbour-hong-kong-2014-by-stephen-b-whatley-jpg">Victoria Harbour, Hong Kong</a>.</i> Patrice's colours are similar and images have those beautiful soft edges found in in Stephen's work.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcJmC_psclIaz-mxIiN_AmLhvVc0zW1FvII_SIfuIbkTt7kj-hsIsPJugc1qWt_tHOCTdDXtNtisdZIvgR35CTe-XmRnzCrIUoE8wWKdGzeBKqMAcNQLkKWYQ3uSwR1Om3ETbJqAhpevI7/s1600/LUM+4.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="899" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcJmC_psclIaz-mxIiN_AmLhvVc0zW1FvII_SIfuIbkTt7kj-hsIsPJugc1qWt_tHOCTdDXtNtisdZIvgR35CTe-XmRnzCrIUoE8wWKdGzeBKqMAcNQLkKWYQ3uSwR1Om3ETbJqAhpevI7/s400/LUM+4.jpg" width="223" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="text-align: start;"><span style="font-size: x-small;">Patrice Warrener's</span></span><span style="font-size: small; text-align: start;"> </span><a href="https://www.visitlondon.com/lumiere/installation/46121788-light-of-the-spirit-chapter-2#aygJAmcx8peBTMze.97" style="text-align: start;">Light of the Spirit (Chapter 2</a>)<br />
West Door of Westminster Abbey</td></tr>
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<span style="font-size: large;">Gothic Architecture </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtUvuzwp8GiRw5EPwRUdDXetyxn_BzfKlkv03BVaTD7i86lxDwbctSxqnDVTGUceil0G7hrC84iLlFGujxibctM2SfHTkn8SRPyVnvthc_oZKfm497iP_iKe1lltJImBmz5zXaMSRe0f1b/s1600/Lum+3.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="658" data-original-width="481" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtUvuzwp8GiRw5EPwRUdDXetyxn_BzfKlkv03BVaTD7i86lxDwbctSxqnDVTGUceil0G7hrC84iLlFGujxibctM2SfHTkn8SRPyVnvthc_oZKfm497iP_iKe1lltJImBmz5zXaMSRe0f1b/s320/Lum+3.png" width="233" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><a href="http://www.stanparryphotography.com/CathedralsofFance/Amiens-Cathedral-Sculpture/i-TR8Vd7Q">Cathedral Basilica of Our Lady of Amiens in France </a></span></td></tr>
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He re-imagines the facia of Gothic Cathedral in light as it would have been originally - a riot of colour - not the dull, weathered monochrome we are left with today. The Cathedrals of the 12th, 13th and 14th centuries were built literally as heaven on earth made manifest in the lavish gilding and colouring; awesome splendour reinforcing the magnificence, the presence and power of God on Earth. Patrice re-creates for us that sense of awe felt by pilgrims as they approached and entered the church. The picture shows how <a href="http://www.stanparryphotography.com/CathedralsofFance/Amiens-Cathedral-Sculpture/i-TR8Vd7Q">Cathedral Basilica of Our Lady of Amiens in France </a>might have looked originally, with its riots of colour just like the Patrice's colour full West Door.<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="text-align: start;"><span style="font-size: x-small;">Patrice Warrener's</span></span><span style="font-size: small; text-align: start;"> </span><a href="https://www.visitlondon.com/lumiere/installation/46121788-light-of-the-spirit-chapter-2#aygJAmcx8peBTMze.97" style="text-align: start;">Light of the Spirit (Chapter </a><a href="https://www.visitlondon.com/lumiere/installation/46121788-light-of-the-spirit-chapter-2#aygJAmcx8peBTMze.97" style="text-align: start;">2</a><a href="https://www.visitlondon.com/lumiere/installation/46121788-light-of-the-spirit-chapter-2#aygJAmcx8peBTMze.97" style="text-align: start;">)</a><br />
West Door of Westminster Abbey - 10 Modern Martyrs</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Crowds viewing the Light of the Spirit (Chapter 2)</td></tr>
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<span style="font-size: large;">Black History</span></div>
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<span style="font-size: x-small;">Three Modern Black Martyrs</span></div>
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<span style="font-size: x-small;">Manche Masemola, Janani Luwum , Martin Luther King Jnr</span></div>
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The Great West Door of Westminster Abbey celebrates modern martyrs of which not one but three are black. Their statues are in niches two, three and five reading from the left: Manche Masemola, Janani Luwum and Martin Luther King Jnr.<br />
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<span style="color: #999999;">Niche <b style="background-color: white;">Two</b></span> <a href="http://www.westminster-abbey.org/our-history/people/manche-masemola">Manche Masemola</a><br />
Murdered by her parents for wanting to become a Christian.<br />
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<span style="color: #999999;">Niche <b style="background-color: white;">Three</b></span> <a href="http://www.westminster-abbey.org/our-history/people/janani-luwum">Janani Luwum</a><br />
Archbishop Luwun was shot as stood up for his people in the face of the tyrant Idi Amin.<br />
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<span style="color: #666666;">Niche </span><b><span style="background-color: white; color: #999999;">Five</span></b> <a href="http://www.westminster-abbey.org/our-history/people/martin-luther-king">Martin Luther King Jnr</a><br />
The great black American civil rights preacher, teacher and leader.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCKngMATfYz52CX_i4P9xZU3iyMoHGZKq_43nbBq_gJI-duS39sld3Ziro1S5QNfGHgHDGeDOmo_lhKImKYhA9dh54zZIuLgY8W-SxUCbV-qiWAqLbbLCuxRFTYd2iRWA0bBnwZwp55O30/s1600/Screen+Shot+2018-02-02+at+09.58.25.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1046" data-original-width="1538" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCKngMATfYz52CX_i4P9xZU3iyMoHGZKq_43nbBq_gJI-duS39sld3Ziro1S5QNfGHgHDGeDOmo_lhKImKYhA9dh54zZIuLgY8W-SxUCbV-qiWAqLbbLCuxRFTYd2iRWA0bBnwZwp55O30/s320/Screen+Shot+2018-02-02+at+09.58.25.jpeg" width="320" /></a></div>
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<b> </b><span style="font-size: large;">Further reading/viewing </span></div>
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<a href="http://www.bbc.co.uk/history/interactive/games/paint_cathedral/index_embed.shtml">The BBC interactive game </a><br />
Gives some idea of how Wells Cathedral might have looked.<br />
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<a href="https://churchpop.com/2015/02/23/medieval-cathedrals-color/">How cathedrals might have looked </a><br />
A blog post on Cathedral Basilica of Our Lady of Amiens in France<br />
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There is good write up on colour in churches <a href="http://archi-trouve.blogspot.co.uk/2014/03/color-my-world-part-2.html">here</a><br />
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Patrice Warrener <a href="https://youtu.be/uMa_CxpWwZM">The Light of the Spirit (Chapter 1) </a> Westminster Abbey - Lumiere London 2016<br />
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<br /><div style="text-align: center;"><hr /><b> </b><span style="font-size: large;">September 2021 addition</span></div><div style="text-align: center;"><span style="font-size: large;">Images from Chartres Cathedral, France </span></div><div style="text-align: center;"><span style="font-size: large;">copyright Alex email 31st Aug</span></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5E4n9UVyFZFTbITscPhQAtS3qVB1SAMY3AJ72SgrB362QqKB188oIO4SqAR5Yf8OEn0-laRDzBMpfDdyKsZloHTJzjBk7BXPAQZVCbZjnGhtkVKkg3oqp1zPPU7YLaii35LygVJZh_c4t/s2048/20210910_001501.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5E4n9UVyFZFTbITscPhQAtS3qVB1SAMY3AJ72SgrB362QqKB188oIO4SqAR5Yf8OEn0-laRDzBMpfDdyKsZloHTJzjBk7BXPAQZVCbZjnGhtkVKkg3oqp1zPPU7YLaii35LygVJZh_c4t/s320/20210910_001501.jpg" width="240" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsTUfiMUejFnS2nkWZfNnxaZKihyh1kO5WHX9y7AHDu-PqFHX_ienInA2MkS9WnbojkfXLXfjYvVJyD07JLEn_5a3wQX9mgYCm_rCAIY6opeuT2pCVElVd5nB-z_uYqiDGwBzgMId-8RGx/s2048/20210910_004112.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsTUfiMUejFnS2nkWZfNnxaZKihyh1kO5WHX9y7AHDu-PqFHX_ienInA2MkS9WnbojkfXLXfjYvVJyD07JLEn_5a3wQX9mgYCm_rCAIY6opeuT2pCVElVd5nB-z_uYqiDGwBzgMId-8RGx/s320/20210910_004112.jpg" width="240" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9B_Sr5p-Smaonmolt2wKmZTmLraqDatPSg2RInUqpfaTfPhnreFpCp2cqtZb97qIG7RboO82o5TnfhOorDcOjUqlGspWTVChv6Unk_tDNLNYE0KCMRatU58mII93tSrFLMxpQgP13Yufe/s2048/20210910_004807.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9B_Sr5p-Smaonmolt2wKmZTmLraqDatPSg2RInUqpfaTfPhnreFpCp2cqtZb97qIG7RboO82o5TnfhOorDcOjUqlGspWTVChv6Unk_tDNLNYE0KCMRatU58mII93tSrFLMxpQgP13Yufe/s320/20210910_004807.jpg" width="240" /></a></div><br /><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;"><br /></span></div>
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<br /><span><a name='more'></a></span><span><!--more--></span>Michaelhttp://www.blogger.com/profile/07846297315621923248noreply@blogger.com0tag:blogger.com,1999:blog-9117076545643631558.post-49454126277670797792017-10-08T02:25:00.002-07:002017-10-23T14:52:55.852-07:00Jon Daniels (1966 to 2017)<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;"><b>Jon Daniels and me at his Afro Supa Hero Exhibition</b><br />
Liverpool Slavery Museum 26th May 2016</td></tr>
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It was with deep sadness I read of the passing of Jon Daniels on <a href="https://www.facebook.com/photo.php?fbid=10155829359623833&set=a.437490348832.212949.677493832&type=3&theater">Facebook last week</a>.<br />
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I first came across Jon at his exhibition for the Children's Museum which <a href="http://assistedreadymade.blogspot.co.uk/2014/02/afro-supa-hero-at-v-museum-of-childhood.html">I wrote about on this blog.</a> I was deeply impressed by his aesthetic vision and his love of the black presence in comic books. He combined the two in his wonderfully iconic <i><b>Afro Supa</b></i> heroes series. I’m proud of the <i><b>Afro Supa </b></i>badge on my hold all. <br />
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Jon used an individual, almost idiosyncratic colour palette in his designs - his pastel blues , yellows , green within clearly defined forms and shapes where distinctive , characteristic of Jon - his trademark. The redesign of the facia of Brixton Advice Centre on Railton Road in Brixton was quintessential Jon - combining his design style with a cultural message - I had to <a href="http://assistedreadymade.blogspot.co.uk/2015/11/jon-daniels-icons-on-railton-road.html">record it for my blog.</a><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAPKsdG0xxFt6LV1SDcFqsA9qrlKrsO8tFAYVKS3e2JJ9kowhxdbb_XXjPaJoBagdxWqjnUI-P39WSapwit1wpbQp7-uBeZpy_vbCbA6x4GxVKJPqPgzw97KLoM2FpxHyziOhpy-3wxmKz/s1600/JBP+Jon.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="512" data-original-width="1024" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAPKsdG0xxFt6LV1SDcFqsA9qrlKrsO8tFAYVKS3e2JJ9kowhxdbb_XXjPaJoBagdxWqjnUI-P39WSapwit1wpbQp7-uBeZpy_vbCbA6x4GxVKJPqPgzw97KLoM2FpxHyziOhpy-3wxmKz/s320/JBP+Jon.jpg" width="320" /></a><br />
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Jon made a lasting contribution to my<a href="http://johnblanke.com/"> John Blanke Project </a>not just in his A4 , black and white, interpretation of John Blanke as the<i> 'trump card</i>' - one of the most distinctive but, also in his advice and guidance. I named the Project’s social media Twitter and Facebook accounts WhoIsJohnBlanke on advice from Jon as he saw the project as asking questions as to who really was John Blanke, this thought process led me to the Project’s strapline - <i>Imagine the black Tudor trumpeter.</i><br />
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I’ll miss Jon, he had such a brilliant, creative mind who used his design ideas in the most inventive and original ways to communicate with us. I and the John Blanke Project are all the better for having met him. I will always miss him.<br />
<br />Michaelhttp://www.blogger.com/profile/07846297315621923248noreply@blogger.com1tag:blogger.com,1999:blog-9117076545643631558.post-10857204834700645182017-06-06T11:13:00.000-07:002017-06-06T11:13:06.762-07:00Pauline Griffith's Umbrellas<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;"><b>Pauline Griffiths</b></td></tr>
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I love art that makes connections and that has purpose but Pauline Griffith’s practice makes finding the links with lived life challenging , equally many of the reasons as to why Pauline does her work are not immediately apparent. Yet despite the absence of an obvious intention or purpose her work has a subliminally pleasing attraction perhaps rooted in English idyosyncracity found in artists like <a href="https://en.wikipedia.org/wiki/Vivienne_Westwood">Vivienne Westwood</a>, <a href="https://en.wikipedia.org/wiki/Gilbert_%26_George">George & Gilbert</a> and the man who paints chewing gum – Ben Wilson - who <a href="http://assistedreadymade.blogspot.co.uk/2013/06/the-chewing-gum-artist_10.html">I've written about elsewhere on this blog</a>.<br />
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<span style="font-size: x-small;"><b>Pauline Introduces Her Practice</b></span></div>
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Pauline dismantles old or broken umbrellas with a view to making the fabric into bags while leaving their frames to create an object d’art. I caught her in the grounds of Guys Hospital at the first stage in her artistic work flow.<br />
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<tr><td class="tr-caption" style="text-align: center;"><b>Pauline and Umbrella Frames</b></td></tr>
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Should Pauline put half the energy and vitality that she puts into the dismantling those broken umbrellas into the completed bags they will be works of art which will at once delight and entertain not to mention have a planet saving recycling intrinsic utility<br />
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I plan to keep in touch with Pauline to follow her progress – meanwhile don’t throw away that broken umbrella as you maybe throwing a future work of art.Michaelhttp://www.blogger.com/profile/07846297315621923248noreply@blogger.com0tag:blogger.com,1999:blog-9117076545643631558.post-52733297786040584392017-05-15T00:27:00.002-07:002018-03-04T07:02:19.324-08:00Learnt from Las Vegas, Applied in London and Liverpool<div class="separator" style="clear: both; text-align: center;">
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Preparing for my first <a href="http://imageoftheblackinlondongalleries.weebly.com/national-gallery.html">Image of the Black in London Galleries</a> tour I looked at how the postmodern influence behind the Sainsbury Wing extension to the National Gallery was rooted in <a href="https://en.wikipedia.org/wiki/Robert_Venturi">Robert Venturi</a>’s 1972 influential work<a href="https://en.wikipedia.org/wiki/Learning_from_Las_Vegas"> </a><i><a href="https://en.wikipedia.org/wiki/Learning_from_Las_Vegas">Learning From Las Vegas</a>.</i><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY5GWQzjAY3-S4DHlRy5MaMsoKGQ09G1fLxfG_UxRYradFj4FA0x8gIYkYIKHIiQ3kYeVuilX1BRIqwyzLlmNyfvWhOZtq26_svHX_9HVM9BVP76RLYTDWhC-oh0bL_QmRJEKoP6xQ9cxK/s1600/Welcome_to_fabulous_las_vegas_sign.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY5GWQzjAY3-S4DHlRy5MaMsoKGQ09G1fLxfG_UxRYradFj4FA0x8gIYkYIKHIiQ3kYeVuilX1BRIqwyzLlmNyfvWhOZtq26_svHX_9HVM9BVP76RLYTDWhC-oh0bL_QmRJEKoP6xQ9cxK/s320/Welcome_to_fabulous_las_vegas_sign.jpg" width="308" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="text-align: center;">
<b>Welcome to Fabulous Las Vegas sign</b>,</div>
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Betty Willis 1959</div>
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His radical ideas from consideration of the famous <a href="https://en.wikipedia.org/wiki/Las_Vegas_Strip">Las Vegas Strip</a> with its iconic welcome sign gave way to a new way of thinking about urban architecture as he parodied modernism’s minimalism saying<i><b><a href="https://architizer.com/blog/less-is-more-vs-less-is-a-bore/"> Less is a Bore!</a> </b></i>The Strip inspired him as buildings made their function and presence known through extravagant individual signage on its buildings.<br />
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<tr><td class="tr-caption" style="text-align: center;"><b>Stardust sign and hotel front</b>,<br />
Las Vegas, 1961</td></tr>
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Where modernism was about space Venturi argued postmodernism was about communication. A <a href="https://en.wikipedia.org/wiki/Ludwig_Mies_van_der_Rohe">Mies van der Rohe</a> modernist building had an intrinsic indifference to its history and location, it could be in any urban space, leading to the modern city having a uniform look and feel regardless of location from London to Los Angeles (or Liverpool).<br />
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<tr><td class="tr-caption" style="text-align: center;"><b>The Mint</b>. Las Vegas 1957 to 1989</td></tr>
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Postmodernism was about context with its buildings fitting in a fun, idiosyncratic way within the settings they found themselves, letting the world know who they are. A postmodernist building fits within its environment. With its name etched into the front and the back of the Sainsbury Wing leave the viewer in on doubt what the building is.<br />
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<tr><td class="tr-caption" style="text-align: center;"><b><a href="https://www.google.co.uk/maps/place/The+National+Gallery/@51.509052,-0.129795,3a,75y,180h,90t/data=!3m7!1e1!3m5!1sR0_blhNTbDTs4GBqQGbWGQ!2e0!6s%2F%2Fgeo1.ggpht.com%2Fcbk%3Fpanoid%3DR0_blhNTbDTs4GBqQGbWGQ%26output%3Dthumbnail%26cb_client%3Dmaps_sv.tactile.gps%26thumb%3D2%26w%3D203%26h%3D100%26yaw%3D45.288246%26pitch%3D0%26thumbfov%3D100!7i13312!8i6656!4m5!3m4!1s0x487604ce176ac979:0x42af85654e23a0b4!8m2!3d51.508929!4d-0.128299">St Martins's Street view</a> </b><br />
rear of Sainsbury Wing</td></tr>
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The Sainsbury Wing's eponymous lettering minded me of the lettering I'd seen in the entrance to the British Libaray and of a newly built care centre in my home town Liverpool which I'd often stopped to admire.<br />
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<tr><td class="tr-caption" style="text-align: center;"><div style="text-align: center;">
Sir Colin St John Wilson (1922 – 2007)</div>
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<b>British Library </b>June 1998</div>
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Liverpool Primary Care Trust </div>
<b>Edge Hill Health Centre</b><br />
Taylor Young<b> </b>Practice 2013<br />
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To conclude, from prestigious public buildings exemplified by National Gallery's Sainsbury Wing extension and The British Library in London to the functional local buildings like the Health Centre in Liverpool Robert Venturi's <i>Learnings From Las Vegas</i> have been applied. The idea he first highlighted in 1960s Las Vegas urban development finds a place in the buildings of the 21st century from Las Vegas to London to Liverpool.<br />
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<b>BTW ONE</b> the National Gallery's eponymous gold sign on the frieze of its portico is very recent postmodern addition after the Sainsbury Wing<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSl59XsHHPTrnSJECgf7L0DQFmTyfqAj2jQM8MglYlLWWUuGFSBz6JZAbnbDU-ZBAAu0a4gHDFAyA1YDzFboUgsQIrkDdLz7LStY5NcXgr3xA7wfn7kOoeI0wRw2oMoWAElQR0un3fBW_o/s1600/My+National+B%2526W.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSl59XsHHPTrnSJECgf7L0DQFmTyfqAj2jQM8MglYlLWWUuGFSBz6JZAbnbDU-ZBAAu0a4gHDFAyA1YDzFboUgsQIrkDdLz7LStY5NcXgr3xA7wfn7kOoeI0wRw2oMoWAElQR0un3fBW_o/s320/My+National+B%2526W.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Portico of the National Gallery</b>,<br />
Trafalgar Square</td></tr>
</tbody></table>
<b>BTW TWO</b> This frieze postmodern signage ain't that new......<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbKoNzckihgPhxRzFuz9iIU-lr25JyEUjL-T1Tzo07f5eTn40fqFHAtVXPWD8Py3q8e0bhttw6EeDM6gG3ftlD3xNjMktlr92jZJw2qn4e-s6d0i632F1UMLkMQpOARUE8P4BzUfTDj2Cx/s1600/patheaon.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbKoNzckihgPhxRzFuz9iIU-lr25JyEUjL-T1Tzo07f5eTn40fqFHAtVXPWD8Py3q8e0bhttw6EeDM6gG3ftlD3xNjMktlr92jZJw2qn4e-s6d0i632F1UMLkMQpOARUE8P4BzUfTDj2Cx/s320/patheaon.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Pantheon</b>, Rome, 118–128 AD</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjccSCceL0a2IP-sRxCVJ5qSmb7PqbZfGqvBoua6XiFE8qICeZilppAFgakL_zL2Z6rbx8q3xciR6zhFwkqqZKy21p6rpir45NRLMYMYHs6OKTWhjtR5VZJcNdfti5uwHFYixhfGF54sg0Z/s1600/Florence.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjccSCceL0a2IP-sRxCVJ5qSmb7PqbZfGqvBoua6XiFE8qICeZilppAFgakL_zL2Z6rbx8q3xciR6zhFwkqqZKy21p6rpir45NRLMYMYHs6OKTWhjtR5VZJcNdfti5uwHFYixhfGF54sg0Z/s320/Florence.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Santa Marie Novella</b>, Florence, 1456–1470</td></tr>
</tbody></table>
For my take on the Santa Marie Novella signage see my post <a href="http://veronese1515.blogspot.co.uk/2011/08/taken-back-to-my-comparative-roots.html">Taken Back to My Comparative Roots</a><br />
<b><br /></b>
<b>BTW THREE </b>The black presence in the Venturi's Sainsbury Wing is to be found in its faux <a href="https://en.wikipedia.org/wiki/Ancient_Egyptian_architecture">Egyptian columns</a> which parody the classical Corinthian columns and pilasters and remans us of the African influence on the western canonical art to be found in the Sainsbury Wing. A controversial debate intuited with Dr Martin Bernals' <a href="https://en.wikipedia.org/wiki/Black_Athena">Black Athena</a> hypothesis.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW1nrR5fiMHt9PZrVjU5LnLMmSnsZfXr50f8Cm9irfv5gA6zG9c_nARGTlnMfa0MQBTanABKt7Nrb3ivjbCLMh8_pXmYIOj-WqJxTn9nY4au31-eCF9caG15_D9lOZCU_6X_MPUqCGzLiq/s1600/sainsbury+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW1nrR5fiMHt9PZrVjU5LnLMmSnsZfXr50f8Cm9irfv5gA6zG9c_nARGTlnMfa0MQBTanABKt7Nrb3ivjbCLMh8_pXmYIOj-WqJxTn9nY4au31-eCF9caG15_D9lOZCU_6X_MPUqCGzLiq/s320/sainsbury+1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sainsbury Wing Egyptian Columns (detail)</td></tr>
</tbody></table>
<div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9hzqax_aqNKM4fNDIDeWhxvm3IOHrZi8v31713il9v99XyMb-Jk5IjocgsQP20XbNjaomXl_JYDzaVmo7TTPmooctkNfsRdlPhdNnGr0lGI0DvQedGO5OZW4EdyptXQ33U7wwpTLIUB-L/s1600/Lepsius-Projekt_tw_1-2-108.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9hzqax_aqNKM4fNDIDeWhxvm3IOHrZi8v31713il9v99XyMb-Jk5IjocgsQP20XbNjaomXl_JYDzaVmo7TTPmooctkNfsRdlPhdNnGr0lGI0DvQedGO5OZW4EdyptXQ33U7wwpTLIUB-L/s400/Lepsius-Projekt_tw_1-2-108.jpg" width="306" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Egyptian Capitals <br />
(see <a href="https://en.wikipedia.org/wiki/Ancient_Egyptian_architecture">Wikipedia for more on Egyptian Architecture</a>)</td></tr>
</tbody></table>
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<br />Michaelhttp://www.blogger.com/profile/07846297315621923248noreply@blogger.com0tag:blogger.com,1999:blog-9117076545643631558.post-43199750438994599462017-03-02T04:38:00.000-08:002017-03-02T23:48:04.949-08:00Leah Thorn - Older Women Rock<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1Ft6coDNHB6XJAaOPL3yKGgGbNQul3XfQ11MoBNL3NxNCObJ_K308v2-M1cPuuJccwZ1sMKZxooPV2RhGSSgKUhQaqYwTXRwLrrxb-w8pb7HkLjPFaM9DT0Qhai0yKnCO2h67nIzTh2u4/s1600/OWR+Rock.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1Ft6coDNHB6XJAaOPL3yKGgGbNQul3XfQ11MoBNL3NxNCObJ_K308v2-M1cPuuJccwZ1sMKZxooPV2RhGSSgKUhQaqYwTXRwLrrxb-w8pb7HkLjPFaM9DT0Qhai0yKnCO2h67nIzTh2u4/s320/OWR+Rock.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
I didn’t get it at first when <a href="http://ebunculwin.weebly.com/">Ebun</a> said she was going to be part of Leah Thorn’s <i>Older Women Rock </i>(<i>OWR</i>). Thoughts of aging rock chicks in leathers recalling and lamenting former glory days came to mind .<br />
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I couldn’t have been more wrong.<br />
<br />
<a href="https://loveolderwomenrock.wordpress.com/"><i>Older Women Rock</i> </a>is for me a brilliant example of the <i>sublation of art in the praxis of life</i> - the reintegration of art into the very way we live our lives*. A brilliant, thought provoking, bloke challenging multi-sensory, including taste, multimedia concept, event and idea.<br />
<br />
It would be trite to call <i>OWR</i> multi media as yes, it does mix different media: Leah’s poetry with art, fashion, music, curation, photography. But it goes much further, it brings art into life as <i>OWR</i> creates its own vocabulary to reveal, display and explain the lot of the older woman in society today, making making and revealing connections.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqg5rdkQOAA0h7f_jdpUlM3-ucnErjdaC17BFkpHTKCn44f1KKdRMe9NyxPb3ZMkOiAKawPl-GDi4TtBY2UhpAUo3OMmQcqUbTwKW1C-vzM9atnHJFceP2wbiU7BgnIpQ1Nyb1yvEmxIGr/s1600/vajazzled_edited-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqg5rdkQOAA0h7f_jdpUlM3-ucnErjdaC17BFkpHTKCn44f1KKdRMe9NyxPb3ZMkOiAKawPl-GDi4TtBY2UhpAUo3OMmQcqUbTwKW1C-vzM9atnHJFceP2wbiU7BgnIpQ1Nyb1yvEmxIGr/s320/vajazzled_edited-1.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="text-align: start;">Allie Lee <b style="font-style: italic;">vajazzled</b></span></td></tr>
</tbody></table>
<i>OWR</i> makes manifest the older woman not just as the trope of mother, wife, grandmother, carer or that old lady living alone but, in roles unfamiliar to too many of us:<br />
<br />
As a <b>prisoner </b>– one of the fastest growing demographics in prison today is women over 55 (1)<br />
<br />
As a <b>mental health sufferer</b> - 28% of women aged 65 years and over suffer form depression (2)<br />
<br />
As <b>living in poverty </b>– 14 per cent of women pensioners live in relative poverty, defined as having incomes below 60 per cent median income after housing costs (3)<br />
<br />
<i>OWR</i> brings these issues to light through Leah's fun creative, innovative poems expressed by artists in the novel media of clothes and fashions.<br />
<br />
I loved the whole <i>OWR </i>concept.<br />
<br />
Leah turns her poetry in to art and fashion, her words inspire artists to create works based on clothing to which they applique, embroider words and images in response to Leah’s poetry. <i>OWR</i> works are then central to a series of panel discussions, fashion shows, cabaret evenings with, and about, older women.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT8eOGjKiLHZRJegaUXYTlQpQbizAG3eKiydtqN5gTTB6HcLMYaaKj89xI_aqlTPvbuuwgLScI5k4RsmdCBO5IkISEI3XG0Rk8-OGSPaRVq2uXDlufO_5NaCCpDmF4hI1tEcRezxczsskw/s1600/old+women.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT8eOGjKiLHZRJegaUXYTlQpQbizAG3eKiydtqN5gTTB6HcLMYaaKj89xI_aqlTPvbuuwgLScI5k4RsmdCBO5IkISEI3XG0Rk8-OGSPaRVq2uXDlufO_5NaCCpDmF4hI1tEcRezxczsskw/s320/old+women.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Claire Angel <b style="text-align: start;"><i>screen </i></b></td></tr>
</tbody></table>
I found several of the poems and their subsequent artefacts very challenging (for me, a bloke!) specifically the poem <i><b>button, </b></i>with its opening lines <i>Vulva lost its youthful lustre</i> and <b><i>vajazzled's </i></b><i>I’ll never have a designer vulva </i>the resultant works leave little to the imagination.<br />
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While other works make profound comments, encouraging one to think and reflect on other aspects of the older women's life and times, for example on the presence or rather absence of older women on TV and movie screens with the poem <b><i>screen</i></b>'s opening line embroidered into the back of a cream leather jacket: <i>only men grow old on the screen</i>. Throughout <i>OWR</i> there is resistance, subversion and rejection of the cliched image of 'the older women'.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOVNxaWBQ_x7APctI82rb4QbQaNzXTO0nwZrSP93AQqlZcQLmEIqCr3dDQ76UwJtI0_R7ytdb3proMAaTGTGA59hOi4Fg7EFvm1Cc5kj98nuNbZzvvNuURUlOstOGGMMzaS6WemtOdDWSx/s1600/Leah.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOVNxaWBQ_x7APctI82rb4QbQaNzXTO0nwZrSP93AQqlZcQLmEIqCr3dDQ76UwJtI0_R7ytdb3proMAaTGTGA59hOi4Fg7EFvm1Cc5kj98nuNbZzvvNuURUlOstOGGMMzaS6WemtOdDWSx/s200/Leah.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.leahthorn.com/">Leah Thorn</a></td></tr>
</tbody></table>
I found Leah's <i>OWR</i> experience – the poems, the fashion, the art - engaging, entertaining and thought provoking and not just the artworks works were tasty so was the rock.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht5ThgnWpbjLV0R3ZjC_nFrSgGrGiK3fEARu33fFvI2b_Au4K1yaJwzT_WV3t329z6hfXVPyPKCe6SxuMiEBKI7IGZo7c21qMQb0HSfeU9kpol7Odwd1jgVqRw6wsBXkz16SNvCbIRwy1G/s1600/OWR+Rock+II.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht5ThgnWpbjLV0R3ZjC_nFrSgGrGiK3fEARu33fFvI2b_Au4K1yaJwzT_WV3t329z6hfXVPyPKCe6SxuMiEBKI7IGZo7c21qMQb0HSfeU9kpol7Odwd1jgVqRw6wsBXkz16SNvCbIRwy1G/s200/OWR+Rock+II.jpg" width="200" /></a></div>
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<h3>
<span style="font-size: small;">References </span></h3>
<span style="font-size: x-small;">* For other examples see my post:<b> </b></span><span style="font-size: x-small;"><b><a href="http://assistedreadymade.blogspot.co.uk/2013/05/gormelys-bollards-great-art-or-gormless.html">Gormley’s Bollards - Great Art or Gormless Artefacts</a></b></span><br />
<span style="font-size: x-small;"><b>1</b> <b><a href="http://www.britsoccrim.org/volume6/001.pdf">British Society of Criminology</a></b></span><br />
<span style="font-size: x-small;"><b>2</b> <b><a href="https://www.mentalhealth.org.uk/sites/default/files/fundamental-facts-15.pdf">Fundamental Facts About Mental Health 2015</a></b></span><br />
<span style="font-size: x-small;"><b>3</b> <b><a href="http://www.futureyears.org.uk/uploads/files/Age%20UK%20on%20poverty%20in%20old%20age.pdf">Age UK Evidence Review: Poverty in Later Life</a></b></span><br />
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<br />Michaelhttp://www.blogger.com/profile/07846297315621923248noreply@blogger.com1tag:blogger.com,1999:blog-9117076545643631558.post-21434915425692909202015-11-02T09:52:00.000-08:002017-10-08T02:17:34.458-07:00Jon Daniels' ICONS on Railton Road<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.jon-daniel.com/"><img border="0" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0l_MMQBZN_K5Zp0CNa7Uowr0XSo4jEJpizqDVu0yBFgekDrLNSSS0wjzjltwtiIT75P84XDfy728mfq1LqDAmnJbUZTh0qT5-8N3VugcQ8XPcNW6YovrAQVTPXN-lt06KOGrWPEBY3GHm/s400/Railton+Road.jpg" width="400" /></a></div>
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<a href="http://www.jon-daniel.com/">Jon Daniel</a>’s facia redesign for <a href="http://brixtonadvice.org.uk/">Brixton Advice Centre</a>’s livens up the junction of Shakespeare Road and Railton Road - Brixton’s Poet’s Corner - with his inspirational eye catching facia - <i>ICONS on Railton Road</i>. Testament to how art and design, form and function can work together - the integration of art into everyday life - making it hard to impossible to tell one from the other.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIONz-FpMsg5rB3H2d5bxxfjzcv0EiGE5r0QlCIbZoW_x5mAK3kRtTcREAFLzARFJgsTSFIZDU4Zt_09loEbHDxfZm0nViZ-pWj8Upqz_DRhdg1fJiE4XQuG55RCQ3npJMldFyGtUug43w/s1600/Railton+Road_edited-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIONz-FpMsg5rB3H2d5bxxfjzcv0EiGE5r0QlCIbZoW_x5mAK3kRtTcREAFLzARFJgsTSFIZDU4Zt_09loEbHDxfZm0nViZ-pWj8Upqz_DRhdg1fJiE4XQuG55RCQ3npJMldFyGtUug43w/s320/Railton+Road_edited-1.jpg" width="320" /></a></div>
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From the brief for the facia Jon’s approach is simple and eloquent - art: celebrate Brixton’s icons and design: create naturally light but private office space.<br />
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Jon has paid respect to the building’s history: it has a blue plaque commemorating <a href="https://en.wikipedia.org/wiki/C._L._R._James">CLR James</a> lived there and <a href="https://en.wikipedia.org/wiki/Race_Today">Race To Day</a> edited by <a href="https://en.wikipedia.org/wiki/Darcus_Howe">Darcus Howe</a> was produced in the there. Their historic presence is acknowledged in Jon’s iconographic art installation which also includes the pianist <a href="https://en.wikipedia.org/wiki/Winifred_Atwell">Winifred Atwell</a>, the writer <a href="https://en.wikipedia.org/wiki/Farrukh_Dhondy">Farrukh Dhondy</a>, the poet <a href="https://en.wikipedia.org/wiki/Linton_Kwesi_Johnson">Linton Kwesei Johnson</a> and the activist <a href="https://en.wikipedia.org/wiki/Olive_Morris">Olive Morris</a>, each icon having a strong connection with Brixton. Their grainy, much enlarged back and white images add to the drama of the installation.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwpMv26Bq_oJDQ4ATq9p4T5TEoGx8V5YSKV-p1-plMuTbKBo1XpAJooBJXNKYbGXtosICl6wDpjZZFFyErQ9_JfALRrvv9OGJtlND9iOvYILLU0B910BaFU0uMxt4y6JvxmFEiZN2K3Hwz/s1600/bca+card.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwpMv26Bq_oJDQ4ATq9p4T5TEoGx8V5YSKV-p1-plMuTbKBo1XpAJooBJXNKYbGXtosICl6wDpjZZFFyErQ9_JfALRrvv9OGJtlND9iOvYILLU0B910BaFU0uMxt4y6JvxmFEiZN2K3Hwz/s320/bca+card.jpg" width="320" /></a></div>
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The materials Jon has used allows the light to flow through the images so the office space is naturally light yet remains quite private from outside preying eyes.<br />
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The inspiration for the colours is particularly interesting as the building had just been painted white, its three doors - one on Shakespeare Road, one on the corner and one on Railton Road- each painted a different colour - Blue , Green and Yellow. Those three colours Jon has referenced in his new logo design for BAC including a witty speech bubble as well as using them in the installation.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTtYUfxnOCkmdqspXmo2OpdSO-ZQ3rCtxHJrou-5aPQMSiWwnM3pQnf8R9hFOSuZ-tW77cM0xEG54w069AK5ODItyjnKXXwZFCMhqMvz3QYkRzQY0O6Qs6G5D7ob-t4DxJKVxLBTnTVrfz/s1600/Screen+Shot+2015-11-02+at+17.27.40.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTtYUfxnOCkmdqspXmo2OpdSO-ZQ3rCtxHJrou-5aPQMSiWwnM3pQnf8R9hFOSuZ-tW77cM0xEG54w069AK5ODItyjnKXXwZFCMhqMvz3QYkRzQY0O6Qs6G5D7ob-t4DxJKVxLBTnTVrfz/s320/Screen+Shot+2015-11-02+at+17.27.40.jpeg" width="320" /></a></div>
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.....and this is not the first time Jon's work came to my attention. His excellent curation of the exhibition of AFRO SUPA HERO at the V&A Museum of Childhood I really enjoyed and <a href="http://assistedreadymade.blogspot.co.uk/2014/02/afro-supa-hero-at-v-museum-of-childhood.html">wrote about earlier on this blog</a>.<br />
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For me this is what art is all about something beautiful with purpose - aesthetic, yet practical - art should touch one’s soul, inspire one’s mind while at the same time be a natural part of our everyday lived lives. Jon’s Brixton’s icons on BAC’s facia are for me testament to how art can enliven not just our physical but also spiritual circumstances.<br />
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Michaelhttp://www.blogger.com/profile/07846297315621923248noreply@blogger.com0tag:blogger.com,1999:blog-9117076545643631558.post-91207298856026589922015-02-24T09:08:00.000-08:002015-04-13T11:15:56.685-07:00Please Take A Seat<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Martindale M., (2015) <i>Please Take A Seat </i>, mixed media<br />
<span style="font-size: xx-small;">Price on Application</span></td></tr>
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PLEASE. TAKE A SEAT a new work from one of London’s newest, freshest artists. Wittily referring to the ambivalence found at the intersection of the indefinite and definite articles.<br />
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Tantalizingly we are left uncertain as what to do - take the seat to the dump or to be seated for an indeterminate wait for some undeclared service - the work is redolent with ambiguity<br />
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PLEASE. TAKE A SEAT has a commanding presence, asking questions, demanding answers (those capitals are not without purpose) , the spectator cannot be neutral, they are drawn in by the command, no matter how courteous the command resonates PLEASE! TAKE A SEAT!</div>
Michaelhttp://www.blogger.com/profile/07846297315621923248noreply@blogger.com0tag:blogger.com,1999:blog-9117076545643631558.post-42387248320696685812014-12-19T23:14:00.000-08:002014-12-19T23:14:42.361-08:00Chewing Gum Painting on The Wobbly Bridge<div dir="ltr" style="text-align: left;" trbidi="on">
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On the way over <a href="http://en.wikipedia.org/wiki/Millennium_Bridge,_London">the Wobbly Bridge</a> en route to St Pauls to celebrate <a href="https://twitter.com/michael1952/status/542679883366035456">50 years to the day that MLK</a> spoke there, I was delighted to come across Ben Wilson, the chewing gum painter, <a href="http://assistedreadymade.blogspot.co.uk/2013/06/the-chewing-gum-artist_10.html">who I’d met and wrote about last year summer</a>. As bright and cheerful as ever, despite the cold and damp December evening, there he was laying full length on the cold steel bridge working on a piece a gum by torch light. <br />
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<a href="http://en.wikipedia.org/wiki/Ben_Wilson_(artist)">His idiosyncratic oeuvre</a> made manifest in this cheerful, colourfully painted chewing gum Christmas card to <i>James & Lauren</i>. It was part of <a href="http://inspiringcity.com/2014/04/18/the-chewing-gum-man-paints-a-trail-of-400-mini-artworks-on-the-millenium-bridge/">series of works he has around Tate Modern</a>. Sadly, time and light did not permit touring his other works, as I did last time we met up. This time however I had the chance to see the work in progress and the finished work.<br />
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It was a good fun trying to find that finished work. As by the time we were on the way back he’d gone leaving only his work. Not quite a needle in haystack but looking for a 25mm by 30mm piece of coloured gum on the 325,000mm by 4,000mm bridge at night using the bridge's subdued blue foot lighting was a challenge.<br />
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Michaelhttp://www.blogger.com/profile/07846297315621923248noreply@blogger.com0tag:blogger.com,1999:blog-9117076545643631558.post-73279161908446673482014-11-15T02:53:00.000-08:002015-03-29T02:34:06.988-07:00Multi Media Curation From TV to NPG<div dir="ltr" style="text-align: left;" trbidi="on">
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I was already to rant about the indulgence and self obsession that is Grayson Perry and his subjects in his <a href="http://www.channel4.com/programmes/grayson-perry-who-are-you">Channel 4's Who Are You</a> ? To me this was Perry and his fellow self publicists on a self promotion trip. My Twitter correspondence on the program reflected my attitude: <br />
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I’ve now seen the show at the <a href="http://www.npg.org.uk/whatson/graysonperry/display.php">National Portrait Gallery Who Are You? </a>The installation or rather, quote <i>that insert[ion]into the Gallery’s 19th and 20th century displays</i> unquote, is simply brilliant quite extraordinary curation.<br />
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NPG’s curators have excelled themselves in creating 14 individual installations which confront, arrest and question the viewer.<br />
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Grayson has taken inspiration from throughout Art history to create his fourteen portraits for example:<br />
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<li>The image of <a href="http://upload.wikimedia.org/wikipedia/commons/9/9c/Neuh%C3%A4usel1680.jpg">Renaissance Fortified Town</a> is behind his self portrait -<i> <a href="http://www.artfund.org/assets/art-news/2014/grayson-map/grayson-map-1.jpg">Map of Days</a></i> </li>
<li><a href="http://www.vam.ac.uk/users/sites/default/files/album_images/59053-large.jpg">A Medieval reliquary casket</a> has given Perry the idea for the portrait of a Christian group that works with homeless people, <i><a href="http://news.bbcimg.co.uk/media/images/78471000/jpg/_78471413_jesus_army_money_box.jpg">Jesus Army Money Box</a></i></li>
<li><a href="http://images.npg.org.uk/800_800/3/1/mw01931.jpg">A Hilliard miniature of Sir Francis Drake</a> inspires the portrayal of Rylan Clark, famous for being famous - <i><a href="http://news.bbcimg.co.uk/media/images/78459000/jpg/_78459010_the_earl_of_essex_2014.jpg">The Earl of Essex</a></i></li>
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My favourite was the £5 note inspired tapestry - <i><a href="http://news.bbcimg.co.uk/media/images/78459000/jpg/_78459012_comfort_blanket.jpg">Comfort Blanket</a> -</i> which Perry describes as <i>a portrait of Britain to wrap yourself up in, a giant banknote, things we love, and love to hate</i>, what attracted me to the work was its eloquent word picture of all that is Britain & Britishness namely the Archers, the Beeb, Fish & Chips and right upto to date with the inclusion of Steve McQueen - a tapestry version of <a href="http://www.bbc.co.uk/news/magazine-18971766">Danny Boyle's Opening to the Olympics London 2012</a><br />
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<tr><td class="tr-caption" style="text-align: center;">Detail of <i><a href="http://news.bbcimg.co.uk/media/images/78459000/jpg/_78459012_comfort_blanket.jpg">Comfort Blanket</a></i></td></tr>
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What makes the NPG installation so good is that works within its collection are hung along side portraits of the traditional, conventional great & good. The positions can be quite revealing of Grayson’s portrait and the works that surrounds it, complimenting each other by adding new layers of meaning.<br />
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<i><a href="http://news.bbcimg.co.uk/media/images/78471000/jpg/_78471411_ashford_hijab.jpg">The Ashford Hijab</a></i>, for example, depicts the Muslim convert Kayleigh Khosravi and her children on a path from that “temple of consumerism”, Ashford Designer Outlet Centre, to Mecca. Creating a revealing contrast with the refined portraits of the Britain's elite - aristocrats, war heroes and heroines, authors , artists,playwrights - that surround her portrait.<br />
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The show is an exemplar of modern museum curation which has its roots in the TV programs that had a book alongside. No TV art series seems to be complete without that associated book – perhaps dating back to 1969 and <a href="http://en.wikipedia.org/wiki/Civilisation_(TV_series)">Kenneth Clark’s <i>Civilisation</i></a>. What the curators at the National Portrait Gallery are doing, as those at the British Museum are doing, is to link their institution a more familiar media to thier target audiences: TV and Radio respectively.<br />
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In the case of NPG it’s <a href="http://www.channel4.com/programmes/grayson-perry-who-are-you">Channel 4’s <i>Who Are You? </i></a>while the perhaps, the British Museum in a more cerebral mood has gone for Radio 4 with the incomparable Neil Macgregor’s <i><a href="http://www.bbc.co.uk/programmes/b04dwbwz">Germany: Memories of a Nation.</a></i><br />
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I believe this intersection of media - TV & Radio - with museums is brilliant as the two compliment each other so well (when done properly as the case with the two examples). It creates a new space in one's mind to appreciate and reflect on the works adding many new layers of meaning leading to a better understanding of the exhibition or installation.<br />
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So, although I would say exactly of the same things as I said on Twitter about the self publicising Perry and his models, I cannot speak highly enough of how the NPG has presented the works - I fully recommended NPG installation!<br />
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Michaelhttp://www.blogger.com/profile/07846297315621923248noreply@blogger.com0tag:blogger.com,1999:blog-9117076545643631558.post-9957912348374232422014-10-10T02:47:00.000-07:002015-12-31T02:53:20.503-08:00Sandham Memorial Chapel - Spencer’s ambition made manifest<div dir="ltr" style="text-align: left;" trbidi="on">
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On the very last leg of my 3month&3,000mile trip <a href="http://bit.ly/GoBongoGo">around Britain in my Bongo </a>I dropped in at the newly re-opened <a href="http://www.nationaltrust.org.uk/sandham-memorial-chapel/">Sandham Memorial Chapel</a>, arguably one of English arts greatest achievements of the 20th century and known as Britain’s answer to the Sistine Chapel yet it still remains one of the country’s best kept art secrets.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i><a href="http://www.nationaltrust.org.uk/sandham-memorial-chapel/">Sandham Chapel</a></i></td></tr>
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It was delight to see the works in their original setting after thier travels around the country which<a href="http://assistedreadymade.blogspot.co.uk/2014/03/stanley-spencers-heaven-in-hell-of-war.html"> I wrote about in an earlier post </a>– London’s Somerset House and Chichester’s The Pallant House - while the Chapel was being renovated.<br />
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I’ve had the pleasure of seeing the Chapel on a number of occasion yet its scale, its composition, its colour, its multitude of figures and varied scenes never ceases to amaze , surprise and delight.<br />
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Spencer’s ambition is vast, examplified by <i>The Resurrection of the Soldiers </i>– a year in the making – a huge jaw dropping work covering the alter wall with eye-catching detail everywhere, an amazing work.<br />
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<tr><td style="text-align: center;"><a href="http://uploads5.wikiart.org/images/stanley-spencer/the-resurrection-of-the-soldiers-1929.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://uploads5.wikiart.org/images/stanley-spencer/the-resurrection-of-the-soldiers-1929.jpg" height="400" width="322" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Resurrection of there Soldiers</i></td></tr>
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Contemplating the head of a man with a thick, bushy moustache in the corner of the <i>The Resurrection of the Soldiers</i> and thinking is this the only moustache in the entire work ? It occurred to me that the only figure I recognised in the whole scheme was Spencer. I wasn’t aware of the identities of any of the soldiers not even the lone officer in the entire scheme as well as this lone moustachioed man.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>The Resurrection of the Soldiers (Detail)</i></td></tr>
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Spencer has included local people in his paintings, so surely there are some known characters in the Chapel's scheme? For example Spencer used the local carpenter (also the father of one of the volunteers who run the <a href="http://stanleyspencer.org.uk/">Stanley Spencer Gallery in Cookham</a>) as the model for the man with the nails in his mouth in <a href="http://uploads6.wikiart.org/images/stanley-spencer/the-crucifixion-1958.jpg"><i>The Crucifixion</i>, 1958.</a><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicPQdX47uId7S8I2UEJ5k4KdcUSxRFy81Zcj4FNrSPE9fAycYVCU-e6mDRX_EOkIu9HWdoSRnbsLY2D9BdsSWJSCJCYe93qZ39Rd-WoOXBMtIqmttuDJxhQ3eyXSkzRisXocvCYDJ2oA3Z/s1600/1466143_642013239182381_311214724_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="151" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicPQdX47uId7S8I2UEJ5k4KdcUSxRFy81Zcj4FNrSPE9fAycYVCU-e6mDRX_EOkIu9HWdoSRnbsLY2D9BdsSWJSCJCYe93qZ39Rd-WoOXBMtIqmttuDJxhQ3eyXSkzRisXocvCYDJ2oA3Z/s1600/1466143_642013239182381_311214724_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(LEFT) The Cookham carpenter Spencer used as a model for the figure (RIGHT) in <a href="http://uploads6.wikiart.org/images/stanley-spencer/the-crucifixion-1958.jpg"><i>The Crucifixion</i> 1958 </a></td></tr>
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All the great frescos of fourteen and fifteenth century Italy contain portraits of the artist's patron and family along with other contemporary elites as well as the artist's own self-portrait acting like a signature. And Spencer acknowledged the influence of those italian artist on his work and is reported to have said - <i>What ho, Giotto! - </i>on<i> </i>being given the chapel commission .<br />
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As a minimum those Italian Renaissance artists had the conceit of having themselves in the picture , often staring out directly – proudly - at the viewer for example: Ghirlandaio in <i>The Resurrection of the Boy</i> 1485; Da Fabriano , <i>Adoration of Magi </i>1423 and one of my very favourites Gozzoli’s <i>Procession of the Magi </i>1459.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-QgdE4jk4pBQL98n2JrF1M0RJu9-m4navsbd1qFZfeIc0KvC9Hjkjg95llT68BUVTkMJ3yUUTTx-97ml6Ec7n_Z7kPwThqAK8Cqf2BGRE-LJB_wtSvqV-jEriF3ZCqUcp5xZgRnonETUa/s1600/IMG_5548.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-QgdE4jk4pBQL98n2JrF1M0RJu9-m4navsbd1qFZfeIc0KvC9Hjkjg95llT68BUVTkMJ3yUUTTx-97ml6Ec7n_Z7kPwThqAK8Cqf2BGRE-LJB_wtSvqV-jEriF3ZCqUcp5xZgRnonETUa/s1600/IMG_5548.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><a href="http://upload.wikimedia.org/wikipedia/commons/a/a0/Domenico_Ghirlandaio_-_Resurrection_of_the_Boy_-_WGA08813.jpg"><span style="text-align: left;">Ghirlandaio in </span><i style="text-align: left;">The Resurrection of the Boy</i><span style="text-align: left;"><i> (Detail)</i>1485</span></a></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxd0UIUKDUQ7aZkpr8CVYqnB-WfAgSuiRvaLLnR9mSVXxZqcaQLacOmtOIT6KNB3tnnmN8-GTSOCZ6xDstrz1tTjyr-RcCjR_QEM5_pElwcGC6UVqa_1s2GOE8W5xUfBdlGhpZ874E1ZcC/s1600/IMG_5549.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxd0UIUKDUQ7aZkpr8CVYqnB-WfAgSuiRvaLLnR9mSVXxZqcaQLacOmtOIT6KNB3tnnmN8-GTSOCZ6xDstrz1tTjyr-RcCjR_QEM5_pElwcGC6UVqa_1s2GOE8W5xUfBdlGhpZ874E1ZcC/s1600/IMG_5549.jpg" width="244" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="text-align: left;"><a href="http://upload.wikimedia.org/wikipedia/commons/b/b2/Gentile_da_Fabriano_Adoration.jpg">Da Fabriano , </a></span><i style="text-align: left;"><a href="http://upload.wikimedia.org/wikipedia/commons/b/b2/Gentile_da_Fabriano_Adoration.jpg">Adoration of Magi </a>(Detail) </i><span style="text-align: left;">1423</span></span></td></tr>
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Benozzo Gozzoli appears no less than six times in his work, most audaciously wearing a red patrician hat with the words <i>Opus Benotii</i> (Benozzo's Work) around the brim. Spencer doesn’t have his name on any hat or helmut, nevertheless he too appears a number of times in the Chapel.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPzwLuegR2bV-Mw_PNhHIBcLFaCO-LEl_ycnl2GjPnqOXK-inkm8UwwzTSqN9jty2So5KwoljQk267-FnKNKG3AH4AoiURGmcig_xd2A3GTpbPoSFpsV2RROvcEpwNjxa2rI6OVF-38LhH/s1600/IMG_5550.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPzwLuegR2bV-Mw_PNhHIBcLFaCO-LEl_ycnl2GjPnqOXK-inkm8UwwzTSqN9jty2So5KwoljQk267-FnKNKG3AH4AoiURGmcig_xd2A3GTpbPoSFpsV2RROvcEpwNjxa2rI6OVF-38LhH/s1600/IMG_5550.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><a href="http://poderesantapia.com/images/art/benozzogozzoli/cappelladeimagi/10young1700.jpg"><span style="text-align: left;">Gozzoli </span><i style="text-align: left;">Procession of the Magi (Detail) </i></a><span style="text-align: left;"><a href="http://poderesantapia.com/images/art/benozzogozzoli/cappelladeimagi/10young1700.jpg">1</a>459</span></span></td></tr>
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Spencer seems to paint himself into almost every panel in the Chapel, as there are small boyish solider figures in nearly every scene, all the figures look similar to other known diminutive youthful images of himself.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjHKVckHUVE8FcbgZQ-zcmwPiRuOqVE5WvKybJB9HN3QgG_NqbDr4LU4I31L6pE21P3Gsr9FbpfLmG5WDGDBLuozyu0cfVB-wOsBhum6q59ox1bnK59s9MFucC9_krFrptNoMaDLGBneFN/s1600/Image42.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjHKVckHUVE8FcbgZQ-zcmwPiRuOqVE5WvKybJB9HN3QgG_NqbDr4LU4I31L6pE21P3Gsr9FbpfLmG5WDGDBLuozyu0cfVB-wOsBhum6q59ox1bnK59s9MFucC9_krFrptNoMaDLGBneFN/s1600/Image42.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Spencer making his bed in <i>Bedmaking </i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXbA2qc_CCiIkBqicQp3rK7pXQk_cWN0hg1_7l0RTCQMCQDfPjaOYzHdBCEe6phTgM6ZhY42JYdH0I6Y9ZXR-BnvgdWwnvfp5EaIOJg-ImVnXPFFIQKhBd4EO5YR6VkOJJ-X3hRt6hzJT-/s1600/IMG_5559.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXbA2qc_CCiIkBqicQp3rK7pXQk_cWN0hg1_7l0RTCQMCQDfPjaOYzHdBCEe6phTgM6ZhY42JYdH0I6Y9ZXR-BnvgdWwnvfp5EaIOJg-ImVnXPFFIQKhBd4EO5YR6VkOJJ-X3hRt6hzJT-/s1600/IMG_5559.JPG" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Spencer contemplating Christ on the Cross<br />
<i>The Resurrection of the Soldiers (Detail)</i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR2j1LfDXFUbMWOJ3Bp4a3TSLOTXooZC7dsba-2ynxKq4mfXApMp_s65hk0XzV5-nIcxV0HNSAdM4pBpStUC-Zuyr36R1g0Ojyp_P84qL4XF5IhiaBbd7Ju6uv18vCQKGNc8tqokp9JKYx/s1600/IMG_5561.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR2j1LfDXFUbMWOJ3Bp4a3TSLOTXooZC7dsba-2ynxKq4mfXApMp_s65hk0XzV5-nIcxV0HNSAdM4pBpStUC-Zuyr36R1g0Ojyp_P84qL4XF5IhiaBbd7Ju6uv18vCQKGNc8tqokp9JKYx/s1600/IMG_5561.JPG" width="229" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Spencer getting his kit ready for inspection<br />
<i>Kit Inspection (Detail)</i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB1HsPUQjI_xSffYXQ6kEjrWvhhcl5DKbgJtwe5fWK-wbEkMnXs80dWAuXOg8GaefquESHrAzPujlChfVUCCFFWRojMbVl2gimsBFcJvgDKdH61pWjT5np0yWL2uVTucoWqCNB4-cH2gQ8/s1600/IMG_5558.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB1HsPUQjI_xSffYXQ6kEjrWvhhcl5DKbgJtwe5fWK-wbEkMnXs80dWAuXOg8GaefquESHrAzPujlChfVUCCFFWRojMbVl2gimsBFcJvgDKdH61pWjT5np0yWL2uVTucoWqCNB4-cH2gQ8/s1600/IMG_5558.JPG" width="319" /></a></td></tr>
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<tr><td class="tr-caption" style="font-size: 13px;">Spencer grooming himself<br />
<i>Tea in the Hospital Ward (Detail)</i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHXVY2KeOZ8rtGknXv9jFtVOYlbN0ykK4R_hT_SYV5otOy5K90G4gyUC5iXrRofU3FsWfaHOwFrx6dzeu0ObHxYw8Zfwl9bIurH-EixPUhSTuYmEEhmdxfWjzGHFjFp4EKoUaQ20JtVRHM/s1600/IMG_5564.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHXVY2KeOZ8rtGknXv9jFtVOYlbN0ykK4R_hT_SYV5otOy5K90G4gyUC5iXrRofU3FsWfaHOwFrx6dzeu0ObHxYw8Zfwl9bIurH-EixPUhSTuYmEEhmdxfWjzGHFjFp4EKoUaQ20JtVRHM/s1600/IMG_5564.JPG" width="240" /></a></td></tr>
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<tr><td class="tr-caption" style="font-size: 13px;">Making a protective firre barrier<br />
<i>Firebelt (Detail)</i></td></tr>
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There is one telling difference between those Italian painters’ self-portraits within their paintings and Spencer’s - they stare, defiantly back at the viewer. Spencer is not so arrogant, when he paints himself he invariably is doing something, some action, not standing idly by, as an on looker unlike the Italians, he's never static or idle.<br />
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And there’s one great absence from the whole of the Chapel’s magnificent scheme viz. a portrait of Lieutenant Henry Willoughby to whom the Chapel is dedicated. I can’t understand why the Behrend’s didn’t write this into the contract as they were people given to contracts evidenced by the letter detailing the terms they let Spencer have ‘Breach Cottage’.<br />
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<blockquote class="tr_bq">
<span style="font-size: x-small;"><span style="font-family: Courier New, Courier, monospace;">Dear Stanley</span><span style="font-family: Courier New, Courier, monospace;"><br /></span><span style="font-family: Courier New, Courier, monospace;">As you are now about to move into “Breach Cottage” I think it is best to put in writing the terms on which this cottage is let to you, viz. the rent is to be 7/6 per week, you to pay rates and taxes & to keep the cottage in tenantable order and condition & the garden properly cultivated. The tenancy to be terminable by either party by three months notice in writing.</span><span style="font-family: Courier New, Courier, monospace;"><br /></span><span style="font-family: Courier New, Courier, monospace;"> Yours sincerely</span></span></blockquote>
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<i style="text-align: center;"><span style="font-size: x-small;"> Letter from his patron J L Berhend to Spencer dated 22nd Jan 1926</span></i></div>
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So it would have been logical for there to have been a request to include an image of the Lieutenant in the work - somewhere. In fact it would be all to convinienet to believe that the only officer in the scheme – on the horse in <i>Map-Reading</i> - was in fact him but I can find no evidence to support this possibility, so it will remain a fanciful thought<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYq5v4x5L8kzN4otzLYdIhlXaSZEqRX3SNi7nLFg0bL7ShEFtv87oZ6Ni3Z3KLjVxTfAtedtlIAYLrOGVsZVJ2LSAX6fs03oBFNq7EbwDwHay66A-yXeRkx2m-Qwas_PqtwS3iVmLHabKK/s1600/IMG_5581.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYq5v4x5L8kzN4otzLYdIhlXaSZEqRX3SNi7nLFg0bL7ShEFtv87oZ6Ni3Z3KLjVxTfAtedtlIAYLrOGVsZVJ2LSAX6fs03oBFNq7EbwDwHay66A-yXeRkx2m-Qwas_PqtwS3iVmLHabKK/s1600/IMG_5581.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Map-Reading (Detail)</i></td></tr>
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I very much enjoyed seeing the works but I have to admit I was disappointed in the renovation along with the new access the National Trust has given to the Chapel. The parking is still as poor as ever and having to go around the back only to make one’s way to the front seems so unnecessary.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9RfhwpO7kjMOWiqWQrbsI3IYqof4nO_ywlM-Qxe125UDeAUg56O_wCdRLhwl9Uq2lyvr9DDEjA4oRAIwn9sgIYyUYOA8ssAWxay-BJ0PWhy280oKm_joqT05MSzSK5gOVNgFhqz7GTovd/s1600/IMG_9385.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9RfhwpO7kjMOWiqWQrbsI3IYqof4nO_ywlM-Qxe125UDeAUg56O_wCdRLhwl9Uq2lyvr9DDEjA4oRAIwn9sgIYyUYOA8ssAWxay-BJ0PWhy280oKm_joqT05MSzSK5gOVNgFhqz7GTovd/s1600/IMG_9385.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Garden at the Rear of Sandham Chapel</i></td></tr>
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They are developing a garden to be a remembrance space, whose design to my eye looks out of place with the building. The garden looks far too stark and modern with its drifts of colour and regimented beds interspersed with austere formal benches. I would have expected something a little more homely and cosy in keeping with Spencer’s style. Happily they left the wild flower meadow and fruit trees at the front of the building.<br />
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Having negotiated three very tiny rooms - an introduction to the work and Spencer, a small , but interesting, display of drawings, plans and correspondence related to the Chapel and Spencer’s work and video (on a loop) introducing the Chapel – one exits the building by a side door then one goes actually into the Chapel via the main door, looking all its years surprised they haven’t restored or at least conserved it.<br />
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<tr><td class="tr-caption" style="text-align: center;">Adults £10......</td></tr>
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And then there’s the entry price £10 (inc optional £1 gift tax) , last time I was there two years ago it was £4. I know we’ve had some 'improvements', inflation and these are great works but a 150% increase seems harsh. There is an ‘offer’ for a family of four of an eye popping £25 – I guess giving the kids cultural capital has its price. The £5 entry fee with kids under 16 free at the <a href="http://stanleyspencer.org.uk/">Spencer Gallery in Cookham</a> seems a good deal!<br />
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To conclude set aside the entry fee and the poor renovation the work is simply magnificent - Spencer’s ambition made manifest.</div>
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Michaelhttp://www.blogger.com/profile/07846297315621923248noreply@blogger.com1tag:blogger.com,1999:blog-9117076545643631558.post-21785826501931699052014-09-10T10:09:00.000-07:002015-04-13T23:52:36.352-07:00Appropriation & Public Art & Glasgow's Cone<div dir="ltr" style="text-align: left;" trbidi="on">
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As part of my OU Art History studies I took part in an inconclusive and ultimately unresolved debate, from my point of view, about exactly what is public art.<br />
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The debate was instigated by <a href="http://www.independent.co.uk/arts-entertainment/art/news/modern-public-artworks-are-crap-says-gormley-this-is-how-it-should-be-done-791922.html" target="_blank">an article in the Guardian</a> in which Anthony Gormley castigated most public art as ‘crap’ , according to the article, his view was supported by others in art world:<br />
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<i>[Gormely] joins a long-running debate on the value of public art which was reinvigorated by Marjorie Trusted, senior curator of sculpture at the Victoria and Albert Museum, who said many commissions were "disappointing, old-fashioned and awkward" while Tim Knox, director of Sir John Soane's Museum in London, dismissed them as "horrors". </i><br />
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Reluctantly, I have to agree with them as I believe public art has to be not just physically open and accessible to all who funded it but also, the work must have meaning to and inspire the community, which financed its execution and finally great public works become local, national & ultimately international icons for their communities, here I have in mind America's <a href="http://en.wikipedia.org/wiki/Mount_Rushmore">Mount Rushmore</a> or <span id="goog_1066689285"></span><a href="http://en.wikipedia.org/wiki/Christ_the_Redeemer_(statue)">Rio de Janeiro’s <i>Christ the Redeeme<span id="goog_1066689286"></span>r</i></a> or <a href="http://upload.wikimedia.org/wikipedia/en/thumb/7/7a/Copenhagen_-_the_little_mermaid_statue_-_2013.jpg/800px-Copenhagen_-_the_little_mermaid_statue_-_2013.jpg" target="_blank">Copenhagen’s <i>The</i> <i>Little Mermaid</i></a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWlSI3WhS7PZyij7YzcMMcW7OInWk-kRcLcAxaQ07j7iZN1jIsTbum-bXsv6095oSlWcKnSvrMkA7M6grRPWEai2mVhGrauoMR8AwQFrPseRytskbKNKp6hFnLxMZN9vKNquO2hyphenhyphenxYQ_IO/s1600/800px-Copenhagen_-_the_little_mermaid_statue_-_2013.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWlSI3WhS7PZyij7YzcMMcW7OInWk-kRcLcAxaQ07j7iZN1jIsTbum-bXsv6095oSlWcKnSvrMkA7M6grRPWEai2mVhGrauoMR8AwQFrPseRytskbKNKp6hFnLxMZN9vKNquO2hyphenhyphenxYQ_IO/s1600/800px-Copenhagen_-_the_little_mermaid_statue_-_2013.jpg" height="200" width="133" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvx0jhas8oXWAfVz3hffXMA20vy5eZLcj3C6ldWTMKMU7PuZevZgODhF4b2ryiVjALhZ3EoujlyCGKMOOXJ6ldE8g-_Upde0IuutLwAr8LW91Gv6Aozbcpwpo77KsCi5URCFQ10bjJ7xbX/s1600/Cristo_Redentor_Rio_de_Janeiro_4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvx0jhas8oXWAfVz3hffXMA20vy5eZLcj3C6ldWTMKMU7PuZevZgODhF4b2ryiVjALhZ3EoujlyCGKMOOXJ6ldE8g-_Upde0IuutLwAr8LW91Gv6Aozbcpwpo77KsCi5URCFQ10bjJ7xbX/s1600/Cristo_Redentor_Rio_de_Janeiro_4.jpg" height="200" width="145" /></a></div>
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Sadly many modern public works are the opposite – meaningless and depressing – ignored, forgotten and past over, left to decay.<br />
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However following my time at the Commonwealth Games in Glasgow I have now found a public work of which ticks all the boxes.<br />
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The traffic coned equestrian statue of the Duke of Wellington by the Italian artist Carlo Marochetti erected in 1844 on a 10ft plinth outside Glasgow's Gallery of Modern Art (GOMA) is for me is a real piece of truly public art as it’s very open, it’s very accessible, it means a lot to the locals. Attracting <a href="http://www.dailymail.co.uk/news/article-2503412/Glasgow-councils-attempt-stop-yobs-putting-cones-Duke-Wellington-statue-stopped.html">10,000 signatures to a petition , with another 45,000 people showing support on Facebook </a> when the council considered making it impossible to place a cone on the statute, plans it eventually had to drop in the face of such public pressure. It's been inspirational and has become an even much more loved icon for the city after winning the battle with the council.<br />
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<b>Appropriation Art</b><br />
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GOMA's conned Wellington is a classic example of <a href="http://en.wikipedia.org/wiki/Appropriation_(art)">intervention or appropriation art</a> - the intentional borrowing, copying, and alteration of preexisting images and objects - but most importantly there is no plagiarism, no copyright theft, no litigation, no cynicism, no bullying and no deceit along with the down right lying found in many other examples of contemporary appropriation art.<br />
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GOMA’s coned Wellington is an honest appropriation.<br />
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The modern practice of appropriation can perhaps be dated back to Duchamp and his ‘assisted readymades’ (a title this blog appropriated) where, for example he appropriated <i>The Mona Lisa</i> to create ‘his’ LCHQQ.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN1Gxm1i-Cu-cOqCpfH_S3TQ-CDkSLlmhjbadU_Orv7VRIBQnUvNWHapuh28FU1kJVk5-Y-dnHxy-iGUXiySZOXPaHAdnY8j765RQve25T7XY1hcu2WpjV1wWTdUDliVcjdqst93XKoeIP/s1600/Marcel_Duchamp_Mona_Lisa_LHOOQ.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN1Gxm1i-Cu-cOqCpfH_S3TQ-CDkSLlmhjbadU_Orv7VRIBQnUvNWHapuh28FU1kJVk5-Y-dnHxy-iGUXiySZOXPaHAdnY8j765RQve25T7XY1hcu2WpjV1wWTdUDliVcjdqst93XKoeIP/s1600/Marcel_Duchamp_Mona_Lisa_LHOOQ.jpg" height="200" width="126" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYUfM04fY051NVy1vMQ4nh0neys0IMtfQXE4UgLSjlqLWCS7qe1N8zd8WxB701RXDvfUW9qqFUm2T-5qCa6bhbloPC0a1XxBpSNmGZS_fgQIS2TOyPKNbFYEBcQ_NT6mQsn0suZnZgv0gI/s1600/banksey.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYUfM04fY051NVy1vMQ4nh0neys0IMtfQXE4UgLSjlqLWCS7qe1N8zd8WxB701RXDvfUW9qqFUm2T-5qCa6bhbloPC0a1XxBpSNmGZS_fgQIS2TOyPKNbFYEBcQ_NT6mQsn0suZnZgv0gI/s1600/banksey.jpg" height="200" width="142" /></a></div>
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While Banksey has turned approbation into a key part of his oeuvre as seen in how he intervenes in a Rembrandt self portrait or how Michelanglo’s <i>David</i> is appropriated into a suicide bomber or Monet’s <i>Lily Garden</i> into a polluted lake.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjI6u0-o0ZPcDKT2POkXxV4-u2MBm1K9VGwe_v0BHEDJ_RnZqWnSi518LVonmtgQ664WxYnTNAjRcNWtjZkNQ2tBe-m_et999G8juhhh92sm2ZWuB1nlgq9fj4rH34zFcQqzes-_wxIOQh/s1600/david.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjI6u0-o0ZPcDKT2POkXxV4-u2MBm1K9VGwe_v0BHEDJ_RnZqWnSi518LVonmtgQ664WxYnTNAjRcNWtjZkNQ2tBe-m_et999G8juhhh92sm2ZWuB1nlgq9fj4rH34zFcQqzes-_wxIOQh/s1600/david.jpg" height="200" width="149" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw0Lbm5aFRDTJdUYW95KNKbBWYFvlzLSuJSMF1gaXYB20LCwXBEAb57Tg_TwW1v3hJeAl86K22b5mzrE163mFXJfPuCrwq-V609fURVZHopi85QUpQvumPgKSV4FX_vB2wPmGYNlwg39sG/s1600/monet.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw0Lbm5aFRDTJdUYW95KNKbBWYFvlzLSuJSMF1gaXYB20LCwXBEAb57Tg_TwW1v3hJeAl86K22b5mzrE163mFXJfPuCrwq-V609fURVZHopi85QUpQvumPgKSV4FX_vB2wPmGYNlwg39sG/s1600/monet.jpg" height="196" width="200" /></a></div>
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Both Duchamp or Banksey took the work of old deceased masters sadly, other artists choose to appropriate the work of living artists, passing it off as their own original work with no reference to the source – often ending in court where the matter is most times resolved in favour of the artist who has appropriated the work who claims ‘fair use’.<br />
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Richard Prince appropriated Patrick Cariou's <i>Yes Rasta </i>series of photographs<i> </i>to create his <i>Canal Zone </i>series of images, selling tens of millions of dollars with no permission from or reference to Cariou's work. An approbation that went to court and sadly <a href="http://www.artinamericamagazine.com/news-features/news/landmark-copyright-lawsuit-cariou-v-prince-is-settled/">Prince was deemed to have made 'fair use' of Cariou's work</a>.<br />
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<tr><td style="text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjddLRDUzQHHKLNGniTsnvoBju8-NLVdFtc6wrop_24qylb9zVKwcrYgPSnRA2iHjSDxua9tgrkdgT0UVLZb-piZYi7jh6rtzFP3NlPvwCtyRXq1ZmxeO20IExwHBB_y7uaSW36eXDX15Fw/s1600/prince.png" height="220" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Left <b>Cariou</b> Right <b>Prince</b></td></tr>
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While Sarah Morris made a career out of appropriating works of origami artist's crease patterns to create her works. On the left below is an origami crease pattern for Robert Lang's<i> <a href="http://www.langorigami.com/art/gallery/gallery.php?name=coopers_hawk">Cooper Hawk</a></i> on the right is work by Morris entitled <i>Falcon</i>. The case was eventually settled amicable thou not after <a href="http://www.langorigami.com/copyright/sarah_morris_copyright_infringement.php">a fight thru the the courts.</a><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn5Tv59acpcF4T_Ah_wWTeqhjXvFjpKVHwkurQ8dOkAn4Sb3ReTmltoMN3Ayk8Y0ySHC6hzKqT5PPuSX_0OUcbeKQ8mWcbnUX1x85q7T7uRBUPy9APDinv0yJWjHOAHCM_fQiO5GRqvYbe/s1600/origami.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn5Tv59acpcF4T_Ah_wWTeqhjXvFjpKVHwkurQ8dOkAn4Sb3ReTmltoMN3Ayk8Y0ySHC6hzKqT5PPuSX_0OUcbeKQ8mWcbnUX1x85q7T7uRBUPy9APDinv0yJWjHOAHCM_fQiO5GRqvYbe/s1600/origami.jpg" height="193" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Left<b> Lang</b> Right <b>Morris</b></td></tr>
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For me, where the laws of copyright prevail artistic approbation is copyright theft and should be treated like any other copyright theft. Thus, Marochetti’s Wellington is out of copyright so is fair game for approbation.<br />
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However there is something else going on with GOMA’s coned Wellington as it also represents the wit, the humour and tolerance of the people of Glasgow. The Glaswegian response to the Wellington approbation was very different to the response to the Banksy like approbation of Churchill's statue in London's Parliament Square, which was rooted in the anger and violence of <a href="http://news.bbc.co.uk/1/hi/uk/740524.stm">anti-capitalist May Day riots.</a><br />
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<b>Iconic Public Art</b><br />
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The people of Glasgow have not only created a legally appropriated work of art but a great iconic work of public art which, appropriately took centre stage as one of the icons of not just the City but of Scotland, at the opening ceremony of the Commonwealth Games in Glasgow this summer.<br />
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Michaelhttp://www.blogger.com/profile/07846297315621923248noreply@blogger.com0tag:blogger.com,1999:blog-9117076545643631558.post-23087981250114070582014-03-04T09:58:00.001-08:002014-03-05T05:31:23.248-08:00Stanley Spencer's Heaven in Hell of War Hangings Compared <div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.arts.magic-nation.co.uk/context3.htm" target="_blank">View of Sandham Memorial Chapel</a></td></tr>
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While <a href="http://www.nationaltrust.org.uk/sandham-memorial-chapel/" target="_blank">Sandham Memorial Chapel</a> is being renovated and updated the National Trust has sent its removable works on road in the form of an exhibition - <i>Stanley Spencer: Heaven in a Hell of War.</i><br />
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I had the pleasure of seeing again the exhibition at <a href="http://pallant.org.uk/exhibitions1/current-exhibitions1/main-galleries/stanley-spencer-heaven-in-a-hell-of-war/stanley-spencer-heaven-in-a-hell-of-war" target="_blank">Pallant House Gallery</a>, having first seen it at <a href="https://www.somersethouse.org.uk/visual-arts/stanley-spencer" target="_blank">Somerset House </a>last year. It was an opportunity to not only once again to enjoy Spencer’s visionary masterpieces close up, but also to compare the hanging of the two exhibitions.<br />
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Much has been written about the paintings in the exhibition. I do not believe I can add more, so I direct the reader to some of the online reviews: <a href="http://www.culture24.org.uk/art/painting-and-drawing/art455844" target="_blank">Culture24</a> on Pallant House Gallery Exhibition, <a href="http://www.theguardian.com/artanddesign/2013/nov/06/stanley-spencer-first-world-war-paintings-uk-tour" target="_blank">The Guardian</a> and <a href="http://www.telegraph.co.uk/culture/art/art-reviews/10505518/Stanley-Spencer-at-Somerset-House-review.html" target="_blank">The Telegarph</a> on Somerset House<br />
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What intrigued me was the how the different hangings - Somerset House and Pallant House Gallery - created very different aesthetic effects.<br />
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<tr><td class="tr-caption" style="text-align: center;"><a href="http://makingamark.blogspot.co.uk/2013/11/stanley-spencer-heaven-in-hell-of-war.html" target="_blank">Somerset House</a> </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg-pHvLQUZUmXMHS6T2iVxHPTxq6jTu85FygrnkWmSZPammV5kE3cT_IZa_LXnzbvUFDxmiAjd_R4Tcu6IZivp-AS1Dr7BNY3f7ulplDsqbfr_BfALsu5kFt5HpxV8UyadX2EsafSXWmdP/s1600/f7c1d73b34efcc35898849e930f836b5.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg-pHvLQUZUmXMHS6T2iVxHPTxq6jTu85FygrnkWmSZPammV5kE3cT_IZa_LXnzbvUFDxmiAjd_R4Tcu6IZivp-AS1Dr7BNY3f7ulplDsqbfr_BfALsu5kFt5HpxV8UyadX2EsafSXWmdP/s1600/f7c1d73b34efcc35898849e930f836b5.jpg" height="400" width="202" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Somerset House<br />
Resurrection</td></tr>
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Somerset House chose to emulate The Sandham Memorial Chapel in a smaller space, with bright, direct lighting in contrast to the subdued, natural light of the Chapel. Being so close, with such good lighting gave the works a newer fresher appearance, looking as though they might have been recently cleaned. The result of the Somerset hanging was a very effective re-enactment of the Chapel with much better, closer viewing opportunities. The presentation of the Resurrection altarpiece was masterful, this was entered through a narrow entrance at the end of the main nave like exhibition space. There was a projection of the Resurrection image on to the wall as shown in the picture (right), the space looked purpose made for presenting Spencer’s masterpiece.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1xxj0QdIuqBTnz3WC2NasZHqYHA9ie65R-D4BLw_R5RjaHnnb5_vB8kQ1-0MLcqW_GDf8g6See3Up8tALs0KJktuCfbnTOiUWszabxuBX_gXGIEvJk0lbFsEV_YAwcxgtiHtQDXud1M8a/s1600/12657571304_2d5f844fd9_b.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1xxj0QdIuqBTnz3WC2NasZHqYHA9ie65R-D4BLw_R5RjaHnnb5_vB8kQ1-0MLcqW_GDf8g6See3Up8tALs0KJktuCfbnTOiUWszabxuBX_gXGIEvJk0lbFsEV_YAwcxgtiHtQDXud1M8a/s1600/12657571304_2d5f844fd9_b.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pallant House Gallery Resurrection</td></tr>
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The Pallant House Gallery hanging in contrast choose not to present the Resurrection not as one image , instead used a detail from it on a wall marking the entrance to their exhibition. No attempt was made to recreate the Chapel space. They separated the predellas from the lunettes into two rooms. This division immediately created a totally different aesthetic from Somerset House. Here we had an exhibition of an artist’s work over two rooms in two different canvas formats, all presented very convienently at eye level.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlrHD-Xys6trSc1GCLLGxZl8d1w2QEY3ynGggzNYLpPOlGgKcd2Z8nBQV1NUsbte1AvU9F7JFn77ZIJ-PWV3Lo-5gLSMYXN6mXO0uoxy6qU9ijPO-z7X03nwARFNR8rN3OYejlff9cedGv/s1600/12657087535_7598378188_b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlrHD-Xys6trSc1GCLLGxZl8d1w2QEY3ynGggzNYLpPOlGgKcd2Z8nBQV1NUsbte1AvU9F7JFn77ZIJ-PWV3Lo-5gLSMYXN6mXO0uoxy6qU9ijPO-z7X03nwARFNR8rN3OYejlff9cedGv/s1600/12657087535_7598378188_b.jpg" height="206" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pallant House Gallery Predellas<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYAYsUeBFaRR5ihHjqBKQOHUDIIPkNimofPqZypB3xnbI39F7k6X7OyuAdtiIjCAPvaMmBII10nzwPqtJioWtfKcOzrBVbye5L5IPZoXmwtRXhf72F2o6z9dJPrJUY-6xH34k9sbNWQHZH/s1600/12657212793_8b7e73d451_b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYAYsUeBFaRR5ihHjqBKQOHUDIIPkNimofPqZypB3xnbI39F7k6X7OyuAdtiIjCAPvaMmBII10nzwPqtJioWtfKcOzrBVbye5L5IPZoXmwtRXhf72F2o6z9dJPrJUY-6xH34k9sbNWQHZH/s1600/12657212793_8b7e73d451_b.jpg" height="219" width="400" /></a></div>
Pallant House Gallery Lunettes<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0c_nUGDmjomKNj2DRkor_k07kbfn5-Zjm4iz83DYiDuBpkgUJCno5Dau4KJ1kibVQs3-cOZylcjBLPzS66z916ygR3xC6xBqDfaW7ZLJixQjXf4hNyospvUnD8eScCPxTyvZqiGKySYWC/s1600/12657090325_aa93479933_b.jpg" imageanchor="1" style="font-size: medium; margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0c_nUGDmjomKNj2DRkor_k07kbfn5-Zjm4iz83DYiDuBpkgUJCno5Dau4KJ1kibVQs3-cOZylcjBLPzS66z916ygR3xC6xBqDfaW7ZLJixQjXf4hNyospvUnD8eScCPxTyvZqiGKySYWC/s1600/12657090325_aa93479933_b.jpg" height="240" width="320" /></a><br />
Pallant House Gallery Lunettes</td></tr>
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The effect was very different from Somerset house. The Pallent House Gallery hanging seemed to bring one even closer to the paintings, encouraging individual comparison one work with another. While Somerset House in bringing the works together in one space attempting to reconstruct a brightly lit version of Sandham created its own aesthetic, very different from that of The Pallent House hang.<br />
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Which was better? Hard to say, certainly Someset House recreation was dramatic bringing one close to the work as whole, while I felt the Pallant House Gallery gave us the chance to consider each work individually, in its own right. I would argue that each hanging has its merits and together form an excellent introduction to Sandham Memorial Chapel when it reopens for visitors in July this year.<br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieQ4nyEpFtLtlo3G5BWqI_EXphtes14NsZvZeSzjI4JDLPvrvfZAS8D0HZ-EU_mCUw7n8owutG33jzuMm1qt6vLq1q14rXtXWMzXurDaXbnZ69qunG31pRo9C95cnw97_EGrZDZpMCgCF9/s1600/cont16-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieQ4nyEpFtLtlo3G5BWqI_EXphtes14NsZvZeSzjI4JDLPvrvfZAS8D0HZ-EU_mCUw7n8owutG33jzuMm1qt6vLq1q14rXtXWMzXurDaXbnZ69qunG31pRo9C95cnw97_EGrZDZpMCgCF9/s1600/cont16-2.jpg" height="265" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 13px;"><a href="http://www.arts.magic-nation.co.uk/context3.htm" target="_blank">View of Sandham Memorial Chapel</a></td></tr>
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Michaelhttp://www.blogger.com/profile/07846297315621923248noreply@blogger.com0tag:blogger.com,1999:blog-9117076545643631558.post-51101253208798606732014-02-08T23:49:00.000-08:002014-03-02T04:06:17.473-08:00AFRO SUPA HERO at the V&A Museum of Childhood<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9Ma_bkbf6i3gp8C1AhKCabS00-wlNYCljyabzoY2Zu-KxNgslxZoQLZTpIFpGTeFLEUeeOcGx3K1jtrob0_LbxUfiNFQTV_Dybm9hniS9R7T3ICWiIkZawk0T7r4v16CveSpl48lpz_EO/s1600/IMG_0293.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9Ma_bkbf6i3gp8C1AhKCabS00-wlNYCljyabzoY2Zu-KxNgslxZoQLZTpIFpGTeFLEUeeOcGx3K1jtrob0_LbxUfiNFQTV_Dybm9hniS9R7T3ICWiIkZawk0T7r4v16CveSpl48lpz_EO/s1600/IMG_0293.JPG" height="320" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">AFRO SUPA HERO TWINS</td></tr>
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It was a real pleasure to attend last night’s AFRO SUPA HERO LIVE at the V&A's <a href="http://www.museumofchildhood.org.uk/" target="_blank">Museum of Childhood</a>. I went expecting to see some comics with a few blacks in them and the chance to talk to some people as to why there were not more. I was pleasantly surprised by the out come.<br />
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Not only was this one of the best-designed and curated exhibition I’ve attended for some time but also I met some very interesting and engaged people as well I had a fun time reflecting on the black presence in comics.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZSh5TpRYhPFTBIua8oZvjxMnzgM-n-Gz0JqkaBkIhwNAOt7XsvzTugUN2EG-TgZADfUg7hlvL-X3eQd454uvgY5BRBNs9KIff_p9YK6Nm52HX_ZhAA3vBXb-fcow6JbrMotL_reZN4AdU/s1600/IMG_0290.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZSh5TpRYhPFTBIua8oZvjxMnzgM-n-Gz0JqkaBkIhwNAOt7XsvzTugUN2EG-TgZADfUg7hlvL-X3eQd454uvgY5BRBNs9KIff_p9YK6Nm52HX_ZhAA3vBXb-fcow6JbrMotL_reZN4AdU/s1600/IMG_0290.JPG" height="220" width="400" /></a></div>
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The exhibition was in a small space – maybe 15 by 4 m – but it was packed with visual and historical delights all contained within a coherent design scheme. It was the design that really struck me, the two flying super hero icons against a sky blue colour scheme on which they fly is used to unite the entire scheme. This coherency owes much to the fact this is one man’s vsison. As I would like to believe the V&A were brave enough to have given a completely free hand to <a href="http://www.jon-daniel.com/" target="_blank">Joe Daniels</a>, a free lance graphic designer with an impressive professional CV whose collection makes up the AFRO SUPA HERO exhibition.<br />
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The V&A's <a href="http://www.museumofchildhood.org.uk/" target="_blank">Museum of Childhood</a> seem to have allowed him his way, not only as the curator of AFRO SUPA HERO but also its designer. How else could such a wonderfully coherent show have resulted? A powerful combination of a collector designing and curating an exhibition of his work – a labour of love – the result is there to see.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr_iEgpP6wqc_2ax_F0G5i7WTGWmc2fumduJsbwAyIKybXVS_67VtCQuK7Wq42XxyMBSDHb5atgPOWbMRuAnvGH5_1GQ9OP2QEzfa3kz0N6SAE5cfDtJSDERba_05YfLNPrNpI_iAl0QI5/s1600/IMG_0261.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr_iEgpP6wqc_2ax_F0G5i7WTGWmc2fumduJsbwAyIKybXVS_67VtCQuK7Wq42XxyMBSDHb5atgPOWbMRuAnvGH5_1GQ9OP2QEzfa3kz0N6SAE5cfDtJSDERba_05YfLNPrNpI_iAl0QI5/s1600/IMG_0261.jpg" height="263" width="320" /></a></div>
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The AFRO SUPA HERO TWINS design seems to have been influenced by Lego , there’s <a href="https://vimeo.com/78282627" target="_blank">a very entraining video</a> explaining how they were put together. I was intrigued to discover one is a boy the other a girl. Can you spot the difference? If not <a href="https://vimeo.com/78282627" target="_blank">the video</a> explains the difference.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqjduzS-4Qd2qTesA7rKvKzUUCUmChOHrpj7DK9KEJtnPSHbwcI-aISxxmr92EghnN13BDcHmbMmZuDveBnZ47zY9Cv9JeSspSBOzyT1werzG3G5Urp6msW_gkasiAOTsipioiMv4yPfRn/s1600/IMG_0300.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqjduzS-4Qd2qTesA7rKvKzUUCUmChOHrpj7DK9KEJtnPSHbwcI-aISxxmr92EghnN13BDcHmbMmZuDveBnZ47zY9Cv9JeSspSBOzyT1werzG3G5Urp6msW_gkasiAOTsipioiMv4yPfRn/s1600/IMG_0300.jpg" height="320" width="310" /></a></div>
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AFRO SUPA HERO had three-standout exhibits for me:<br />
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<b><i> Superman vs. Muhammad Ali </i>Dell Comics 1978</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhByUpuTIvbUoevEfMQhMB_V8UKZpSbPm5PJVz-1Xdg62WWO9TcmKGt6f6HDZ0GESzM2KfEhjLJYvq5xQlMAx-tsTzcLfdhOLECds8Ff3_tMvV8XO00QP2ZpWpFjtYYLZ9fNjkDgvV1q8I7/s1600/IMG_0286.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhByUpuTIvbUoevEfMQhMB_V8UKZpSbPm5PJVz-1Xdg62WWO9TcmKGt6f6HDZ0GESzM2KfEhjLJYvq5xQlMAx-tsTzcLfdhOLECds8Ff3_tMvV8XO00QP2ZpWpFjtYYLZ9fNjkDgvV1q8I7/s1600/IMG_0286.jpg" height="400" width="292" /></a></div>
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The cover is spectacular and its story is something else, if you want to know more check out this piece from <a href="http://herocomplex.latimes.com/comics/brad-meltzer-why-superman-vs-muhammad-ali-is-still-the-greatest/" target="_blank">the LA Times</a>. And yes, that is Jimmy Carter, Batman and Telly Selvalas on the cover to find out why see the LA Times article which includes <a href="http://latimesherocomplex.files.wordpress.com/2010/11/superman-vs-muhammad-ali-wraparound.jpg?w=1200&h=804" target="_blank">the full cover</a> there you can even see the Jackson 5in the audience!<br />
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<b><i>I am Curious (Black)</i> Issue #106 Superman’s Girlfriend Lois Lane: November 1970</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHAoOOQq2OUoanb92_9K8e3mwMbYz8KnkxSLxs4rK1bAXMOPhk4fPMd390PZv4Ze0VkL75A4HIuGo_d_48vxKxBcPOEOtHz414lEGY05AohhKW53wOAtioh2NFn7CWddcYzb9T03Fe_QdN/s1600/IMG_0282.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHAoOOQq2OUoanb92_9K8e3mwMbYz8KnkxSLxs4rK1bAXMOPhk4fPMd390PZv4Ze0VkL75A4HIuGo_d_48vxKxBcPOEOtHz414lEGY05AohhKW53wOAtioh2NFn7CWddcYzb9T03Fe_QdN/s1600/IMG_0282.jpg" height="320" width="216" /></a></div>
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A very eye catching cover to an improbable but very well meaning plot, you can read the whole issue <a href="http://mutantstarr.blogspot.co.uk/2012/01/they-really-made-that-into-comic.html" target="_blank">here</a>.<br />
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<b><i>Slade</i> – Super-Fly action figure</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV-SZUhsOyFs5CEuqzz0hqLltow-ZdRJgHVwI0eoaOM9r8Frzo6rayHKvCH6aj6rJuBKlolutpKu9fuCl6GB6pjWeMf7UGgQrKsTr4xh6cZIg3jx-UsDkRm3rVk5WRNwN2Sxpj_UIfsdfY/s1600/SHaft.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV-SZUhsOyFs5CEuqzz0hqLltow-ZdRJgHVwI0eoaOM9r8Frzo6rayHKvCH6aj6rJuBKlolutpKu9fuCl6GB6pjWeMf7UGgQrKsTr4xh6cZIg3jx-UsDkRm3rVk5WRNwN2Sxpj_UIfsdfY/s1600/SHaft.jpg" height="320" width="236" /></a></div>
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Slade Super Agent was modeled on detective John Shaft from the 1971 film Shaft, played by Richard Roundtree with its unforgettable <a href="http://youtu.be/nFvRvSxsW-I" target="_blank">sound track by the late , great Isaac Hayes</a><br />
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I grew up reading comics in the sixties with main stream American comics - Dell and Marvel. Dell Comics had Superman ,Batman, Flash, Green Lantern et al while Marvel had Spiderman, The X-Men, Fantastic Four, Capt America. Marvel Comic heroes were on the whole grittier, more human, than the holier-than –thou squeaky clean middle- America Dell heroes. Neither however had any black super heroes.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-5yU5ZYQ2MydIO4CcTYpQTeC5YBSLQPvC6qJyXjHmWJUvDCpMYwMqu2sNOL_O9jDJJVkKjBqujNXPD2kn6nli681bZ2tghtJdWPKkw7e7yvtrU1UcCivOasRggO47Z2bnvURcvs8O-nOS/s1600/IMG_0284.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-5yU5ZYQ2MydIO4CcTYpQTeC5YBSLQPvC6qJyXjHmWJUvDCpMYwMqu2sNOL_O9jDJJVkKjBqujNXPD2kn6nli681bZ2tghtJdWPKkw7e7yvtrU1UcCivOasRggO47Z2bnvURcvs8O-nOS/s1600/IMG_0284.jpg" height="320" width="268" /></a></div>
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The appearance of the black super hero in the early seventies is made manifest in AFRO SUPA HERO with Lieutenant Uhura from Star Trek, Black Panther from Marvel’s Jungle comics and others.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeYDQRpFTsqB2q9370LlKlTZwRsw4hI20XnqY_fHNTnVQ_hbUGUdukd0ErsWJQ8bAXeU3SeedDLOqNPrvTEhJ781EFY-Qo2T7n58vllvcu9d7Dyh_6pjnSJMHkBZoYF2uoM33b2UMiy6ZK/s1600/IMG_0292.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeYDQRpFTsqB2q9370LlKlTZwRsw4hI20XnqY_fHNTnVQ_hbUGUdukd0ErsWJQ8bAXeU3SeedDLOqNPrvTEhJ781EFY-Qo2T7n58vllvcu9d7Dyh_6pjnSJMHkBZoYF2uoM33b2UMiy6ZK/s1600/IMG_0292.JPG" height="240" width="320" /></a></div>
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I had the chance to meet some old friends and make some new ones as I attended a packed panel session devoted to <i>The Black Image in the World of Comics</i>. There was much discussion about the independent comic producer. With the Internet there is no need to wait for publication - you can do it now! The panelists from <a href="http://kromatroncomics.tumblr.com/" target="_blank">Kromatron Comics</a> were very encouraging – urging the audience to start now! While Jon Daniels - another panelist – explained how he has a greater vision for his AFRO SUPA HEROES TWINS beyond this exhibition. I very much look forward to seeing how his and Kromatron's vision develops.<br />
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I have one small gripe with AFRO SUPA HERO - there was no catalogue. Once closed the exhibition will sadly leave no written document or commentary to describes its presence and purpose - an opportunity missed. I would encourage Jon Daniels to redress this omission maybe in crowd source like <a href="https://www.kickstarter.com/projects/497037202/afroella-a-blaxsploitation-sci-fi-space-opera-with" target="_blank">Kramatron did for AFROELLA</a><br />
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The AFRO SUPA HERO exhibition and debate highlighted the paucity of British Afro Caribbean super heroes or put another way how many America has when compared to the UK. I would hope AFRO SUPA HERO would go some way to redress that imbalance, motivating others to create British Afro Caribbean super heroes If the intent of the audience at the panel session I attended is real then this is happening right now. So, an increase in Afro Carribeean super heroes could well be an outcome of AFRO SUPA HERO.<br />
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And lastly the fun, we arrived late so sadly missed <a href="http://youtu.be/-zpGfxgPEQY" target="_blank">the Soul Train Line </a>we did however have the chance to get AFRO'd!!<br />
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Michaelhttp://www.blogger.com/profile/07846297315621923248noreply@blogger.com0tag:blogger.com,1999:blog-9117076545643631558.post-42474393664355381612014-02-06T06:50:00.000-08:002014-02-06T06:50:28.934-08:00Fiery End For Fake Chagall?<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwN0llYAw0BcvmsTwHkoO5zEeOTHkxVXzrV0dGFAXrZagFBNypW8pGXr3iq0vT8aPwKpYWKfX0u8O-OZukaxaMOEJNZ6iDkElmvdglwBUJCLe0URo1zCBDTp014AEZNLTln8zKl5O42fXL/s1600/098080-fake-chagall.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwN0llYAw0BcvmsTwHkoO5zEeOTHkxVXzrV0dGFAXrZagFBNypW8pGXr3iq0vT8aPwKpYWKfX0u8O-OZukaxaMOEJNZ6iDkElmvdglwBUJCLe0URo1zCBDTp014AEZNLTln8zKl5O42fXL/s1600/098080-fake-chagall.jpg" height="225" width="400" /></a></div>
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I’ve been following the outcome of the most recent episode of the wonderfully entertaining <a href="http://www.bbc.co.uk/programmes/b01mxxz6" target="_blank">BBC’s Fake or Fortune </a>with real interest. The ‘Fake’ in question is a Chagall brought for £100,000. The F2F created a compelling combination of science and speculation good enough to present to the Chagall evaluation committee. That was then the trouble started.<br />
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The Committee decided it was a fake so they could exercise their moral right , under French Law, to burn the painting !<br />
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This fiery fate for fakes is astonishingly the norm for those paintings ruled as forgeries by these French evaluation committees.<br />
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I very much agree with <a href="http://www.telegraph.co.uk/culture/art/10614843/Fake-or-Fortune-or-going-up-in-flames.html" target="_blank">what the Daily Telegraph article on the saga </a> "t<i>he process of authentication owes rather more to consensus than to science"</i>. To my mind, what is art is what the consensus say. This might not be an actual Chagall but it is art that struck an aesthetic chord with a number of people - a consensus which included some very informed people. To destroy the work is an act of vandalism. To sell it as a Chagall is a crime. I agree with the owner that the painting should be returned to its owner with the reverse permanently stamped FORGERY.<br />
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As I write Thur Feb 6th the case is not over yet the suspicion is that the Chagall committee is waiting for the fuss to die down then they’ll quietly destroy it. Hopefully the committee will see sense and stop this act of vandalism, for the latest check out <a href="http://www.arthistorynews.com/" target="_blank">ArtHistoryNews</a>.<br />
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Michaelhttp://www.blogger.com/profile/07846297315621923248noreply@blogger.com0tag:blogger.com,1999:blog-9117076545643631558.post-78674553764597841682013-11-17T11:11:00.000-08:002013-11-17T11:12:55.428-08:00Photographer - Tony Ray Jones at the Science Museum <div dir="ltr" style="text-align: left;" trbidi="on">
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It was an entry in the wonderfully enigmatic and polemic quarterly Art magazine<a href="http://www.thejackdaw.co.uk/" target="_blank"> Jackdaw</a> where I came across the work of <b>Tony Ray Jones</b> a British photographer who died all too young aged 31 back in 1972. His work is being shown at the <b>ONLY IN ENGLAND</b> exhibition at the <a href="http://www.sciencemuseum.org.uk/visitmuseum/Plan_your_visit/exhibitions/only_in_england.aspx" target="_blank">Science Musuem's new Media Space.</a><br />
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He took the US documentary photography found in <a href="http://assistedreadymade.blogspot.co.uk/2013/07/photographer-walker-evans.html" target="_blank">Walker Evans</a> and more recently in the rediscovered <a href="http://assistedreadymade.blogspot.co.uk/2013/07/photographer-vivian-maier.html" target="_blank">Vivian Maier </a>and gives it a very British look and feel. Where those US photographers used the streets and bars and to lesser extent their countryside Tony Ray Jones use the beach and the countryside to capture the British zeitgeist.<br />
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My two favourites from the exhibition which demonstrated British eccentricity and idiosyncracity at home on the beach and the countryside are: Brighton Beach 1966 (I've been in similar seaside family pictures) and Glyndebourne, 1967 (a scene I 'm sure you can see today!)<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYaBjKF22Li_8yvwWHG81rNOlzeuSYn5Bc5UR9gYPybhcQubCX0WXGVA8liSBrABiPwIitzbjvlNyxqc4awQ-tjJ2PFNKk77HUt1hTXs5qRlclvzMDJgxXVWpf0a0O7loMsf3xI_gkNjBu/s1600/tony_ray_jones_glyndebourne_1967_1357_55.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYaBjKF22Li_8yvwWHG81rNOlzeuSYn5Bc5UR9gYPybhcQubCX0WXGVA8liSBrABiPwIitzbjvlNyxqc4awQ-tjJ2PFNKk77HUt1hTXs5qRlclvzMDJgxXVWpf0a0O7loMsf3xI_gkNjBu/s400/tony_ray_jones_glyndebourne_1967_1357_55.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Glyndebourne, 1967<br />
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<tr><td class="tr-caption" style="text-align: center;">Brighton Beach, 1966</td></tr>
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From a page on show from his c1965 notebook you can find tips and ideas which resonate today in our digital photography age. I found <i>stay with the subject matter (be patient)</i> and <i>get involved (talk to people) </i>particularly relevant to me.<br />
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And yes, I did look for the Blacks and they were there both fictive aka in the blackened white faces style of the Black & White Minstrels, in the oddly named <a href="http://www.coconutters.co.uk/history.htm" target="_blank">Bacup Coconut Dancers </a>who seemed to be related to the equally odd <a href="http://www.rattlejagmorris.org.uk/history-of-morris-dancing" target="_blank">Morris Dancer </a>and yes both groups have there history 'lost in the mists of time' . There were of course some real blacks caught in the streets of Tony Ray Jones's London in 60's and 70's<br />
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<tr><td class="tr-caption" style="text-align: center;">Bacup Coconut Dancers, 1968<br />
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A good exhibition very intsrtuctive - recommended!<br />
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PS while doing the research for this post I came across <a href="http://blakeandrews.blogspot.co.uk/2010/09/hitting-iceberg-again.html" target="_blank">the blog post of Blake Andrews</a> in which he talks about rephotography, I have been meaning to do similar with a Jimi Hendrix picture....watch this blog<br />
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Michaelhttp://www.blogger.com/profile/07846297315621923248noreply@blogger.com0tag:blogger.com,1999:blog-9117076545643631558.post-15076691946669314312013-09-23T01:09:00.000-07:002013-09-23T01:09:58.120-07:00Another Bluebird ? <div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span style="font-size: x-small;"><i>Belonging </i></span></b><span style="font-size: xx-small;">Walker Gallery Installation for Liverpool Biennial 2012. </span><a href="http://www.markmcnulty.co.uk/" style="font-size: x-small;" target="_blank">Image by © Mark McNulty </a></div>
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<span lang="EN-US">Following on from my post about Katharina Fritsch’s <a href="http://assistedreadymade.blogspot.co.uk/2013/09/a-cock-up-on-fourth-plinth.html" target="_blank"><i>Hahn/Cock </i></a> </span>maybe this single colour bird thing is becoming a
fashion ?<br />
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In an installation for last year's Liverpool's Biennal in an around its neo-classical Walker Art Gallery an artist uses multi-colour magnitude rather than the monochrome mass used by Fritsch in an attempt to create an aesthetic effect.</div>
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<b><span style="font-size: x-small;"><i>Belonging </i></span></b><span style="font-size: xx-small;">Walker Gallery Installation for Liverpool Biennial 2012. </span><a href="http://www.markmcnulty.co.uk/" style="font-size: x-small;" target="_blank">Image by © Mark McNulty</a></div>
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<span lang="EN-US">Patrick Murphy’s <a href="http://www.patrickmurphystudio.co.uk/index.php?/works/belonging/#.Uj6ttmTF1wo" style="font-style: italic;" target="_blank">Belonging </a>is 150 ‘brightly coloured guests’ aka Ken Livingston's "rats with wings" aka pigeons painted various garish colours as appose to Katharina
Fritsch’s <a href="http://assistedreadymade.blogspot.co.uk/2013/09/a-cock-up-on-fourth-plinth.html" target="_blank"><i>Hahn/Cock </i></a>single, 800kg bird. </span>Murphy argues:</div>
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<i>Belonging elevates the familiar
site of pigeons [to] welcome, colourful visitors….. [evoking] questions about
ownership and feelings of being accepted or marginalised.</i> </blockquote>
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<b><span style="font-size: x-small;"><i>Belonging </i></span></b><span style="font-size: xx-small;">Walker Gallery Installation for Liverpool Biennial 2012 </span><a href="http://www.markmcnulty.co.uk/" style="font-size: x-small;" target="_blank">Image by © Mark McNulty </a></div>
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I leave you to decide, for me <i>Belonging </i>is shop bought art, kitsch like Fritsch's.</div>
</div>Michaelhttp://www.blogger.com/profile/07846297315621923248noreply@blogger.com0tag:blogger.com,1999:blog-9117076545643631558.post-1133702987141733492013-09-16T01:05:00.000-07:002014-04-21T23:33:34.621-07:00A Cock-Up on the Fourth Plinth ?<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><span style="text-align: left;"><span style="font-size: x-small;">Katharina Fritsch’s </span></span><i style="text-align: left;"><span style="font-size: x-small;">Hahn/Cock </span></i><br />
<span style="font-size: xx-small;">Aug '13 Photo <span lang="EN-US" style="font-family: Helvetica;">© </span>The Author</span></td></tr>
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The pieces chosen for the fourth plinth in London's Trafalgar Square seem to be falling into the same pattern of much of contemporary public art today; they're Big, they're in a Unlikely place and they're Monochrome.<br />
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Look at Jaume Plensa’s <i><a href="http://www.dreamsthelens.com/" target="_blank">Dream</a></i>, visible from the M62 on the way into Liverpool; a white, 20m high structure of the thin, ashen face of a nine year old child; the planned <a href="http://www.ebbsfleetlandmark.com/home" target="_blank"><i>Ebbsfleet Landmark Project</i></a> By Mark Wallinger at 40 to 50m impossibly, high white horse by the A2 visible to drivers to and from Ebbsfleet; Damien Hirst’s 20m <a href="http://www.visitilfracombe.co.uk/homepage/verity" target="_blank"><i>Verity</i></a> sinisterly, overlooking Ilfracombes’s harbour<br />
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The fourth plinth works seem to following this contemporary convention as most have been big pieces, in the unlikely setting of the plinth and with few exceptions, monochrome as seen in Elmgreen and Dragset , <i>Powerless Structures, Fig. 101</i> or Marc Quinn’s <i>Alison Lapper Pregnant </i>and now Katharina Fritsch’s <i>Hahn/Cock </i>its plaque reads:<br />
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<i>Hahn/Cock is a sculptre of a familiar domestic cockerel in ultramarine blue, made from fibre glass reinforced resin and fixed on a stainless-steel support structure.<br />The sculpture is 4.72 Meters high and weighs 800kg</i></blockquote>
Further that commonality of compositions perhaps has it source in the fact that three out of the six works artists’ share the same dealer – the White Cube – despite there being of thousands of dealers across the country with at least 500 in London.<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="text-align: left;">Elmgreen and Dragset , </span><i style="text-align: left;">Powerless Structures, Fig. 101</i><span style="text-align: left;"> </span></span><br />
<span style="font-size: xx-small;">Photo </span><span style="font-size: xx-small;">Aug '12 <span lang="EN-US" style="font-family: Helvetica;">© </span>The Author </span><br />
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<span style="font-size: x-small;"><span style="text-align: left;">Marc Quinn’s </span><i style="text-align: left;">Alison Lapper Pregnant</i></span><br />
<span style="font-size: xx-small;">Photo </span><span style="font-size: xx-small;">Feb '07 <span lang="EN-US" style="font-family: Helvetica;">© </span>Fred Penfold</span></td></tr>
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The artists invariably claim to bring ‘fun’ to art as well as addressing issues on the borders of some human emotion or physical dilemma. In Fritsch’s case <i>Hahn/Cock</i> “plays on the tension between reality and apparition, between the familiar and the surreal or uncanny” according to her publicists aka dealers - <a href="http://whitecube.com/artists/katharina_fritsch/" target="_blank">White Cube </a>- on their web site.<br />
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For me, there is no aesthetic content in this cock at all, it is kitsch; on a par with mass produced blow moulded wellington boots ‘She captures and magnifies the uncanny’ her defenders say. Cock, uncanny ? Sigh! Nonsense!<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">National Gallery, St Martin's, Hahn/Cock, Nelsons's Column</span><br />
<span style="font-size: xx-small;">Photo</span><span style="font-size: xx-small;"> </span><span style="font-size: xx-small;">Aug'13 <span lang="EN-US" style="font-family: Helvetica;">© </span>The Author and iPhone</span></td></tr>
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This is art as spectacle, for tourists. This is ornamentation. Decoration. A backdrop to countless thousands of Trafalgar Square sightseers’ digital photographs, period.<br />
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There has been one work on the plinth that has worked for me, Yinka Shonibare's <i>Nelson's Ship in A Bottle</i>. Yes, it's a cliché, a re-working of his trade-mark wax cloths nevertheless it works for me, proof that Fourth Plinth art can be more than a Big piece in an Unlikely place and Monochrome!<br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE_NzhH3xkxBW0SRb-fQ1X-r-BgUCGDVgUBHkXNmOdryZMoChS_76sLj3H7o_AjX6gna2ZlIeRB9K6TCbdmq4Ch1Su6UcGi5lZzw4PgmMNpYkAPApQUF72Zv_h-sJistfULlYVJEVs4PC-/s1600/yinka+3.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE_NzhH3xkxBW0SRb-fQ1X-r-BgUCGDVgUBHkXNmOdryZMoChS_76sLj3H7o_AjX6gna2ZlIeRB9K6TCbdmq4Ch1Su6UcGi5lZzw4PgmMNpYkAPApQUF72Zv_h-sJistfULlYVJEVs4PC-/s320/yinka+3.JPG" height="320" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.800000190734863px;"><span style="font-size: x-small; text-align: left;">Yinka Shonibare, </span><span style="font-size: x-small;">Nelson’s Ship in a Bottle</span><br />
<span style="font-size: xx-small;">Photo Sometime after May '10 <span lang="EN-US" style="font-family: Helvetica;">© </span>The Author</span><br />
<div>
<span style="font-size: xx-small;"><br /></span></div>
</td></tr>
</tbody></table>
<br />
<br />
<br /></div>
Michaelhttp://www.blogger.com/profile/07846297315621923248noreply@blogger.com0tag:blogger.com,1999:blog-9117076545643631558.post-23706174031868286612013-08-17T00:05:00.000-07:002013-08-17T00:43:49.385-07:00ArtEverywhere - Stanley Spencer's Neighbours <div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://ichef.bbci.co.uk/arts/yourpaintings/images/paintings/ssga/large/bbo_ssga_009_large.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://ichef.bbci.co.uk/arts/yourpaintings/images/paintings/ssga/large/bbo_ssga_009_large.jpg" width="209" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stanley Spencer, <i>Domestic Scenes: Neighbours</i> 1936 , Oil on canvas 76 by 51 cm</td></tr>
</tbody></table>
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<span lang="EN-US">I am a big fan of <a href="http://www.kwantes.com/SSG%20website/biography.html" target="_blank">Stanley Spencer (1891-1959)</a> the visionary,
multi faceted <span style="mso-spacerun: yes;"> </span>English artist , so much
so I help out as a volunteer or custodian as we are called at his eponymous
<a href="http://www.stanleyspencer.org.uk/" target="_blank">Gallery</a> in <a href="http://www.cookham.com/" target="_blank">Cookham</a>, Berkshire, England.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US">Spencer’s popularity has increased in
recent years reflected in the fact, his <i>Neighbours</i> 1936 was voted one of Britain’s favourite
works of art<span style="mso-spacerun: yes;"> </span>in the <a href="http://arteverywhere.org.uk/" target="_blank">Art Everywhere project.</a><o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US">So the public and I had the chance to see
<i>Neighours</i> on billboards all over the country.</span></div>
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<div class="MsoNormal">
<span lang="EN-US">I was lucky enough to find <i>Neighbours</i>
twice on a trip into London last night:<o:p></o:p></span></div>
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<span lang="EN-US"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVpyhSucw3IJC_m6IQ6D_-UCgEWnubYWCFeHJstK11P1zSPynb9tQI5v140zOn1fVLdoasd8Ln0Udg97qZoif8TjAc_USHkCGkZT_q-IM3Nul_YfWbHlf794iFBQFmetQW-4o-tYs0OzyD/s1600/charring+cross.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVpyhSucw3IJC_m6IQ6D_-UCgEWnubYWCFeHJstK11P1zSPynb9tQI5v140zOn1fVLdoasd8Ln0Udg97qZoif8TjAc_USHkCGkZT_q-IM3Nul_YfWbHlf794iFBQFmetQW-4o-tYs0OzyD/s320/charring+cross.jpg" width="320" /></a></div>
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In the Tunnel connection Charring Cross Tube Station to its Railway Station</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij_JCneBvzfIdyGwBmpapNmem4OgUPTOV7I98ndSdtvNOlbKAqx_YB7rIe_GvaOzadDP5LWSTVZC6hDfEENeoZ6ouwp9vUzU3gopgnyFLifKBYBb8cUJ7nj7E6FC2BISUaUjXT8DsMJed6/s1600/Euston+Sq_edited-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij_JCneBvzfIdyGwBmpapNmem4OgUPTOV7I98ndSdtvNOlbKAqx_YB7rIe_GvaOzadDP5LWSTVZC6hDfEENeoZ6ouwp9vUzU3gopgnyFLifKBYBb8cUJ7nj7E6FC2BISUaUjXT8DsMJed6/s320/Euston+Sq_edited-1.jpg" width="320" /></a></div>
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At the end of the platform of Euston Square Tube Station</div>
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<span lang="EN-US"><a href="http://arteverywhere.org.uk/" target="_blank">ArtEverywhere</a> is a brilliant idea - putting great works of art voted for by the public on billboards all over the country. The 50 works which made the short list range from the abstract of Bridget Riley's <i><a href="http://arteverywhere.org.uk/artwork/blaze/" target="_blank">Blaze 4 </a></i>to the historical figurative of John William Waterhouse's <i><a href="http://arteverywhere.org.uk/artwork/the-lady-of-shalott/" target="_blank">The Lady of Shallot</a></i> , demonstrating how popular Art is in general and Spencer in particular. </span></div>
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Michaelhttp://www.blogger.com/profile/07846297315621923248noreply@blogger.com0tag:blogger.com,1999:blog-9117076545643631558.post-49435867865227849942013-07-19T23:15:00.000-07:002013-07-19T23:15:03.545-07:00Photographer - Walker Evans<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Walker Evans Negro church, South Carolina, 1936</td></tr>
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First came across <a href="http://walkerevans.florencegriswoldmuseum.org/introduction/index.php5" target="_blank">Walker Evans</a> preparing for <a href="http://veronese1515.blogspot.co.uk/2013/02/v-africa-speed-search-sound_9.html" target="_blank">a presentation at the Victoria and Albert</a> and more recently researching for a forthcoming article on Appropriation Art. </div>
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He has a very simple direct style his photographs are unromantic, factual - <a href="http://www.metmuseum.org/toah/hd/edph/hd_edph.htm" target="_blank">documentary</a> - which I like very much as the photographs ask questions while maintaining an aura.</div>
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I have unwittingly (more of this when I discuss Appropriation Art) used this documentary style myself.....</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcO8SPMOvfwoFK1fdujuMPep_1IKo7XRibneQWzck-scEt7W9KlagWG9fbMdyWpkqc3xeWJ1FV2uvoUe0cHZFOqfWCZ9mrS2fVx_Qz3WODvydq6fOu16Y9AKsW71h2-hN7A5ehm-W0rdAY/s1600/344_43867660119_2738_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcO8SPMOvfwoFK1fdujuMPep_1IKo7XRibneQWzck-scEt7W9KlagWG9fbMdyWpkqc3xeWJ1FV2uvoUe0cHZFOqfWCZ9mrS2fVx_Qz3WODvydq6fOu16Y9AKsW71h2-hN7A5ehm-W0rdAY/s320/344_43867660119_2738_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Michael Ohajuru Storage Shed Somerset 2009</td></tr>
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Michaelhttp://www.blogger.com/profile/07846297315621923248noreply@blogger.com0tag:blogger.com,1999:blog-9117076545643631558.post-26124220634226087512013-07-08T08:25:00.000-07:002013-07-08T08:25:14.769-07:00Photographer - James Ravillious <div dir="ltr" style="text-align: left;" trbidi="on">
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Writing about <a href="http://assistedreadymade.blogspot.co.uk/2013/07/photographer-vivian-maier.html" target="_blank">Vivian Maier</a> and her work brought to mind another favourite photographer of mine - <a href="http://www.jamesravilious.com/" target="_blank">James Ravillious</a> - he too worked in back and white. Where Maier captured city life, Ravillious captured country life<br />
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Both extracted something enigmatic, endearing and enduring from the compositions they captured from their sitters and scenes.<br />
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I find Ravillious's work equally as inspiring as Maier's </div>
Michaelhttp://www.blogger.com/profile/07846297315621923248noreply@blogger.com0tag:blogger.com,1999:blog-9117076545643631558.post-110808906931229562013-07-08T02:59:00.000-07:002013-07-08T02:59:08.975-07:00Photographer - Vivian Maier<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="http://www.vivianmaier.com/media/gallery/new-york-1/1322.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://www.vivianmaier.com/media/gallery/new-york-1/1322.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: black; font-family: Arial, Helvetica, Verdana, sans-serif; font-size: 11.818181991577148px; line-height: 17.99715805053711px; text-align: left;"><a href="http://www.vivianmaier.com/portfolios/new-york-1/?show=thumbnails&pid=180" target="_blank">August 11, 1954, New York, NY</a></span></td></tr>
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<span style="-webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); color: white; font-family: '.Helvetica NeueUI'; font-size: 16px;"><a href="http://www.vivianmaier.com/" target="_blank">Vivan Maier </a>took over 150,000 pictures most of which were never developed or seen in her time. Only to be discovered as one of the great photographers of the 20th century after her death. And only after the self-storage space she rented sold the contents of her storage as it went unpaid after her death</span><br />
<span style="-webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); color: white; font-family: '.Helvetica NeueUI'; font-size: 16px;"><br /></span>
<span style="-webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); color: white; font-family: '.Helvetica NeueUI'; font-size: 16px;">What an extraordinary back story her life brings to her work. Nevertheless her art alone speaks itself, for her work really needs none of the art historical discourse cum rhetoric so nessesary to support so much of what tries to pass as art today. </span><br />
<span style="-webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); color: white; font-family: '.Helvetica NeueUI'; font-size: 16px;"><br /></span>
<span style="-webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); color: white; font-family: '.Helvetica NeueUI'; font-size: 16px;">To me, her work is inspirational .</span></div>
Michaelhttp://www.blogger.com/profile/07846297315621923248noreply@blogger.com0