Jon Daniels' ICONS on Railton Road

Jon Daniel’s facia redesign for Brixton Advice Centre’s livens up the junction of Shakespeare Road and Railton Road - Brixton’s Poet’s Corner - with his inspirational eye catching facia - ICONS on Railton Road. 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.

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.

Jon has paid respect to the building’s history: it has a blue plaque commemorating CLR James lived there and Race To Day edited by Darcus Howe was produced in the there. Their historic presence is acknowledged in Jon’s iconographic art installation which also includes the pianist Winifred Atwell, the writer Farrukh Dhondy, the poet Linton Kwesei Johnson and the activist Olive Morris, each icon having a strong connection with Brixton. Their grainy, much enlarged back and white images add to the drama of the installation.

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.

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.

.....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 wrote about earlier on this blog.

 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.

Please Take A Seat

Martindale M., (2015) Please Take A Seat , mixed media
Price on Application

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.

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

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!

Chewing Gum Painting on The Wobbly Bridge

On the way over the Wobbly Bridge en route to St Pauls to celebrate 50 years to the day that MLK spoke there, I was delighted to come across Ben Wilson, the chewing gum painter, who I’d met and wrote about last year summer. 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.  

His idiosyncratic oeuvre made manifest in this cheerful, colourfully painted chewing gum Christmas card to James & Lauren. It was part of series of works he has around Tate Modern. 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.

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.

Multi Media Curation From TV to NPG

I was already to rant about the indulgence and self obsession that is Grayson Perry and his subjects  in his Channel 4's Who Are You ? To me this was Perry and his fellow self publicists on a self promotion trip. My Twitter correspondence on the program reflected my attitude:

I’ve now seen the show at the National Portrait Gallery Who Are You? The installation or rather,  quote that  insert[ion]into the Gallery’s 19th and 20th century displays unquote, is simply brilliant quite extraordinary curation.

NPG’s curators have excelled themselves in creating 14 individual installations which confront, arrest and question the viewer.

Grayson has taken inspiration from throughout Art history to create his fourteen portraits for example:

• The image of Renaissance Fortified Town is behind his self portrait - Map of Days 
• A Medieval reliquary casket has given Perry the idea for the portrait of a  Christian group that works with homeless people, Jesus Army Money Box
• A Hilliard miniature of Sir Francis Drake inspires the portrayal of Rylan Clark, famous for being famous - The Earl of Essex

My favourite was the £5 note inspired tapestry - Comfort Blanket - which Perry describes as  a portrait of Britain to wrap yourself up in, a giant banknote, things we love, and love to hate, 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 Danny Boyle's Opening to the Olympics London 2012

Detail of Comfort Blanket

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.

The Ashford Hijab, 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.

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 Kenneth Clark’s Civilisation. 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.

In the case of NPG it’s Channel 4’s Who Are You? while the perhaps, the British Museum in a more cerebral mood has gone for Radio 4 with the incomparable Neil Macgregor’s Germany: Memories of a Nation.

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.

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!

Sandham Memorial Chapel - Spencer’s ambition made manifest

On the very last leg of my 3month&3,000mile trip around Britain in my Bongo I dropped in at the newly re-opened Sandham Memorial Chapel, 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.

Sandham Chapel

It was delight to see the works in their original setting after thier travels around the country which I wrote about in an earlier post – London’s Somerset House and Chichester’s The Pallant House -  while the Chapel was being renovated.

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.

Spencer’s ambition is vast, examplified by The Resurrection of the Soldiers – a year in the making – a huge jaw dropping work covering the alter wall with eye-catching detail everywhere, an amazing work.

The Resurrection of there Soldiers

Contemplating the head of a man with a thick, bushy moustache in the corner of the The Resurrection of the Soldiers 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.

The Resurrection of the Soldiers (Detail)

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 Stanley Spencer Gallery in Cookham) as the model for the man with the nails in his mouth in  The Crucifixion, 1958.

(LEFT) The Cookham carpenter Spencer used as a model for the figure (RIGHT) in The Crucifixion 1958 

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 - What ho, Giotto! - on being given the chapel commission .

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 The Resurrection of the Boy 1485; Da Fabriano , Adoration of Magi 1423 and one of my very favourites Gozzoli’s Procession of the Magi 1459.

Ghirlandaio in The Resurrection of the Boy (Detail)1485

Da Fabriano , Adoration of Magi (Detail) 1423

Benozzo Gozzoli appears no less than six times in his work, most audaciously wearing a red patrician hat with the words Opus Benotii (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.

Gozzoli Procession of the Magi (Detail) 1459

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.

Spencer making his bed in Bedmaking 

Spencer contemplating Christ on the Cross
The Resurrection of the Soldiers (Detail)

Spencer getting his kit ready for inspection
Kit Inspection (Detail)

Spencer grooming himself
Tea in the Hospital Ward (Detail)

Making a protective firre barrier
Firebelt (Detail)

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.

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’.

Dear Stanley
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.
                               Yours sincerely

              Letter from his patron J L Berhend to Spencer dated 22nd Jan 1926

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 Map-Reading - was in fact him but I can find no evidence to support this possibility, so it will remain a fanciful thought

Map-Reading (Detail)

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.

Garden at the Rear of Sandham Chapel

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.

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.

Adults £10......

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 Spencer Gallery in Cookham seems a good deal!

To conclude set aside the entry fee and the poor renovation the work is simply magnificent - Spencer’s ambition made manifest.

Appropriation & Public Art & Glasgow's Cone

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.

The debate was instigated by an article in the Guardian in which Anthony Gormley castigated most public art as ‘crap’ , according to the article,  his view was supported by others in art world:

[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". 

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 Mount Rushmore or Rio de Janeiro’s Christ the Redeemer  or Copenhagen’s The Little Mermaid.

Sadly many modern public works are the opposite – meaningless and depressing – ignored, forgotten and past over, left to decay.

However following my time at the Commonwealth Games in Glasgow I have now found a public work of which ticks all the boxes.

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 10,000 signatures to a petition , with another 45,000 people showing support on Facebook  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.

Appropriation Art

GOMA's conned Wellington is a classic example of intervention or appropriation art - 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.

GOMA’s coned Wellington is an honest appropriation.

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 The Mona Lisa to create ‘his’ LCHQQ.

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 David is appropriated into a suicide bomber or Monet’s Lily Garden into a polluted lake.

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’.

Richard Prince appropriated Patrick Cariou's Yes Rasta  series of photographs to create his Canal Zone 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 Prince was deemed to have made 'fair use' of Cariou's work.

Left Cariou Right Prince

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 Cooper Hawk on the right is work by Morris entitled Falcon. The case was eventually settled amicable thou not after a fight thru the the courts.

Left Lang Right Morris

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.

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 anti-capitalist May Day riots.

Iconic Public Art

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.

Stanley Spencer's Heaven in Hell of War Hangings Compared

View of Sandham Memorial Chapel

While Sandham Memorial Chapel is being renovated and updated the National Trust has sent its removable works on road in the form of an exhibition - Stanley Spencer: Heaven in a Hell of War.

I had the pleasure of seeing again the exhibition at Pallant House Gallery, having first seen it at Somerset House 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.

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: Culture24 on Pallant House Gallery Exhibition, The Guardian and The Telegarph  on Somerset House

What intrigued me was the how the different hangings  - Somerset House and Pallant House Gallery - created very different aesthetic effects.

Somerset House 

Somerset House
Resurrection

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.

Pallant House Gallery Resurrection

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.

Pallant House Gallery Predellas

Pallant House Gallery Lunettes


Pallant House Gallery Lunettes

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.

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.

View of Sandham Memorial Chapel

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