Tag: art

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Culture

Just a little Memling

Do you like Memling? I don’t know, I’ve never tried it. [boom boom]

Virgin and Child with Saints Catherine of Alexandria and Barbara, by Hans Memling, 1479

Gotta love that Northern Renaissance.

I went to a lecture about fabric and fashion in art recently which used as an example a painting which I think wasn’t actually this one, but was very very similar. Possibly Memling painted various versions of it. Anyway, I can tell you that the black and gold cloth behind the Virgin and on the skirt of one the kneeling saints would have been made in Italy.

While I’m here posting about nothing in particular, I’ll throw in one of my occasional plugs for my photoblog, Clouded Drab. There’s a cute cat picture on the front page…

» The painting, Virgin and Child with Saints Catherine of Alexandria and Barbara, is in the Met, and this photo is from their website. It was painted in 1479 by the Netherlandish painter Hans Memling as an altarpiece.

Categories
Culture

Georg Baselitz at the Royal Academy

Baselitz is a German painter and sculptor. I thought that I knew nothing about him at all, but when I got to the exhibition several of the paintings turned out to be familiar.

Baselitz was born in East Germany, his father had been a member of the Nazi party, and he was studying at an art college in West Berlin when the Berlin Wall went up and separated him from his family and home town. So it’s not surprising that a lot of history and politics gets into his paintings or that they tend to be a bit angry. In fact, his earlier paintings, which are figurative but distorted and blocky, are reminiscent of some of those similarly angry-looking Picassos.

The Woodmen

Later he developed a different quirk: upside-down paintings. They are, apparently, actually painted upside-down, but they look like they’ve just been hung that way. It’s a surprisingly effective way of transforming even quite mundane paintings into something more interesting, and the early examples are fairly mundane, as though the point of them is the upside-down-ness and so the paintings themselves are much more straightforward representational works than those he had been doing before. Interestingly, as the paintings then get more abstracted, they stay upside-down, but because the subject is less clear the upside-down-ness is also less obvious.

The Gleaner

More recently Baselitz has started producing ‘remix’ paintings: new versions of his early works. So, for example, there’s a painting, I think from the 60s, called ‘The Great Friends’ that depicts two people among ruins and in front of a fallen flag. The new version is the same design, but painted in different colours and with different technique; he’s taken to painting them on the floor, making much use of dripped paint. No doubt this is partially the normal looking back of an old man. It was noticeable in the Louise Bourgeois show at Tate Modern that she has also returned to motifs from her childhood as she gets older. But also it is surely related to the fall of the Berlin Wall and the re-unification of Germany stirring up the whole messy subject of C20th German history.

I got the audioguide for the exhibition, which was interesting if not exactly sparkling, and it included contributions from Baselitz. Rather admirably, he never made any attempt to tell you what the paintings were about, or explain their symbolism or even their personal significance for him. Everything he said was to do with how he painted them and what visual effect he wanted to create. For example, he said about one painting that he wanted as much of the canvas as possible left unpainted and he was pleased because he largely managed to get it right first time and didn’t need to do much overpainting. He didn’t provide any reason why he wanted the canvas left bare; presumably he thinks he paintings should speak for themselves.

» The exhibition website is short of useful pictures, so the two I’ve included are from other sources. They’re not really the examples I would have picked given a free choice, but I wanted some kind of pictures, so they’ll do. The top one, ‘Meissen Woodmen’, is from the National Gallery of Australia; the other is ‘The Gleaner’ from the Guggenheim in New York.

Categories
Culture Nature Other

Big trees at Kew

I went to Kew Gardens to see the Henry Moore sculptures. Which were OK, I guess. It’s not easy to display such a lot of very large sculptures—28 in all—but Kew is big enough that there’s plenty of room for them, so it’s quite a good match. I wandered around desultorily looking at them but they didn’t really grab me; not that I tried that hard to engage with them. I’d be curious to know whether I would have got more out of them if they were in a field; i.e. if there was less other interesting stuff around to distract me.

Moore sculpture

The particular thing that side-tracked me most was Big Trees; and specifically, some of the oaks and chestnuts. Now there has been a botanical collection at Kew for over 200 years, so there are some decent sized exotic trees. The conifer in the picture above is a pretty imposing example. But the trees I was looking at must surely be older still. There was one particular chestnut which must have been about eight foot in diameter. I didn’t get a picture that did that one justice, but here’s a smaller one:

sweet chestnut tree

I love the deeply grooved bark of mature chestnut trees. The sweet chestnut isn’t actually native to Britain; it was introduced in the Middle Ages. The oak, Quercus robur, is a native species. Of course it’s native to the whole of Europe, so the fact that in this country it’s often referred to as the English Oak is a wee bit parochial. Still, it’s a key feature of the English landscape. And this is an impressive example. Not a great picture, but hopefully the people standing in front of it give some sense of scale.

oak

I love these big trees; there’s something so satisfying about the sheer bulk of them. It makes you wonder what England looked like when it was a genuinely wild landscape; for many hundreds of years, the normal fate of a mature oak was to be cut down and used to make a timber-framed building or a ship. But once upon a time there must have been thousands of ancient trees all over the place. That landscape, of untouched primary forest, isn’t even a folk memory now; it was long gone by the time of Stonehenge. British woodland is artificial, a managed resource. Or now that wood is less in demand, an unmanaged resource; but I don’t think much of it is likely to be left alone for the few hundred years necessary to revert to wildwood.

Here’s another chestnut. I think the shape of it, with a fat trunk splitting into lots of branches a short way up, may be a sign that it was once pollarded. But I’m not sure.

sweet chestnut

Just think, that was probably already a mature tree when George III was confined to Kew Palace, strapped to his bed by the doctors and being bled, cupped, blistered and given emetics in a desperate and ignorant attempt to cure his madness.

» All pictures are hosted on my Flickr account, and you can see bigger versions there, if you want.

Categories
Culture

Visiting the crack

Last week I went to see the crack at Tate Modern, which is the latest big artwork in the Turbine Hall. You can read what the Tate thinks it’s about here. I found it less impressive in reality than I expected. I’d heard about it before I went, and it looked exactly as I expected except I vaguely thought it might be bigger and scarier at the fat end.


Shibboleth by Doris Salcedo – the crack at Tate Modern, London, originally uploaded by chrisjohnbeckett.

I personally didn’t notice it exposing a fracture in modernity itself or encouraging me to confront uncomfortable truths about our history and about ourselves with absolute candidness, but then I didn’t read the blurb until after I saw it.

I also went to the Louise Bourgeois exhibition. Which I quite enjoyed although I wasn’t really in the right mood to give it the attention a major retrospective hopefully deserves. Bourgeois was born in Paris in 1911 but has lived in New York since 1938. One interest was just to see work produced over such a long period; the earliest works were from the 1940s and the most recent from this year. I thought the objects were quite likeable—they had a very human sort of quality. A lot of contemporary art seems to be either highly finished and glossy or so roughly put together that it looks scruffy and half-arsed. This work avoids either quality. Apart from the traditional sculpture, I thought one example of that was the recent works which are ‘rooms’ assembled together out of found objects: furniture and tapestries and stuff. The objects themselves are battered and tatty, and it’s the kind of work which can often be a bit nothingy, but here I felt they were thoughtfully put together and really felt like coherent artworks. Those works also seemed very French; after 60 years in New York producing work that doesn’t seem so specific to a particular place, it’s interesting to see her returning to the details of her childhood in France.

Anyway. I can’t really claimed to have engaged with it in a very meaningful way, but it was interesting enough. I’ve got a cold and I’m feeling a bit shit, so rather than rambling on any more I think I’ll go and make some hot lemon and honey or something. Can anyone suggest any other favourite homemade cold remedies?

Categories
Culture Other

China, the Olympics, and antiquity diplomacy

I was just watching Question Time on the BBC, and the panel were asked what ‘we’ should do about Burma. Simon Schama was on the panel, and he suggested that, if China was stubborn about blocking any action via the UN, we should have a mass boycott of the Beijing Olympics, since Burma is a client state of China and the Olympics is one of the few pieces of leverage we have. I’m not going to offer any opinion about Schama’s analysis; I was just struck by something one of the audience members said: ‘What does sport have to do with politics?’

Because my immediate reaction was that this Olympics, the 2008 Olympics in China, is intensely political. I say that without knowing anything about the current state of Chinese politics; I don’t think you need to. The 2008 games just has a frisson around it, an aura. It’s the amount the Chinese government is spending, and the way they’re spending it. I mean, have you seen the stadiums they’re building? They are incredible: huge, dramatic, glamorous. Gesture architecture on the grand scale. It’s not enough for the Chinese to show they can put on a successful Olympics; they want to appear dynamic and, above all, modern.

Beijing National Stadium

It’s no coincidence that the British Museum has an exhibition that includes some of the warriors from the Terracotta Army. Or that last winter there was a huge show at the Royal Academy of work from the C18th Chinese court. It’s all surely part of a concerted effort of cultural diplomacy, an attempt to engage with the world and establish Brand China as sophisticated, exciting, a modern nation amongst modern nations. While, I’m guessing, fighting tooth and nail to keep a rigid grip on the levers of power.

Which isn’t to say that the people running China’s PR department are magicians. The insistence on using every opportunity to assert Tibet’s place as an integral part of China’s heritage seems like a bad idea to me; it just reminds people of the issue. Next year there will probably be literally millions of people who will experience a twinge of hostility, or guilt or whatever, at the moment in the opening ceremony when the mascot representing a Tibetan antelope appears. It would probably have been a better idea to avoid the negative vibes.

This isn’t particularly intended as an anti-China screed; trying to project the right national image is something all governments do, after all, it’s just that big totalitarian governments do it in a big, sweeping, control-freak manner that makes it more obvious. I guess it’s just a feeling that every so often you have to say these things explicitly because, after all, you’re kidding yourself if you think that propaganda doesn’t affect you. I’m planning to see the terracotta warriors; I’ll be watching the Olympics; it will all, inevitably, have some impact on my perception of China. The least I can do is remind myself from time to time that it is propaganda.

» the picture of the stadium is from Wikimedia. The terracotta horses are by molas on Flickr and are used under a by-nc-sa Creative Commons licence.

Categories
Me

Self-portrait with peristalsis

Actually it’s not a self-portrait—I certainly wasn’t operating the camera—but it is a picture of me. Since my blogging is generally short on personal details and I’ve never even posted a photograph of myself before, I suppose a shot of the inside of my colon seems like a rather radical step. But what the hell, it’s not like any of you are are likely to get the chance to pick my bowel out of an identity parade.

The inside of my bowel

My local hospital consists of a whole lot of buildings added at different times, all joined together by labyrinthine corridors, and all the buildings are referred to as ‘wings’: the Golden Jubilee Wing, for example. I can’t help feeling that it does serious damage to the metaphor; it would be a seriously deformed bird that had five wings, all pointing off in different directions.

They didn’t seem to be terribly worried by anything they found up there, btw. Although I suppose they might be trying to hush up the fact I’ve been impregnated by aliens.