so back in december last year, while visiting my friend in vienna, austria (obviously), i noticed a poster for the robert motherwell exhibition “pure painting” from a moving tram, managed to make out where it took place, and went the next day. i was welcomed by a building that i mistook for a bank (though later i found out that the gallery actually is sponsored by a bank, go figure), but then when we went inside, i was pleasantly surprised by the atmosphere. the spaciousness of the gallery allowed one to view such large canvases from a far enough distance and added perspective to the exhibition.
its a good job i saw the poster though, the post-war painter hadn’t had a major exhibition since 1977 and now i had the opportunity to see the art of a defining character in the history of abstract expressionism. the last image in my post is archetypal for motherwell, whose work is easily recognizable by the large black blotches, lines, shapes and spots, key elements of gestural painting that motherwell used to mold and help define the format back in the 40s. living in new york, he was part of the group around peggy guggenheim that formed the authentically american art-style, of course influenced by european surrealists <3
im kidding, i love me some action painting
if i had to use one word to describe the exhibition, it’d be ‘impressive’. i was genuinely surprised by the monumentality and power that the works radiated. like i mentioned, the space of the gallery was huge, which only helped enhance the impact of the large pieces. i learned that in the case of some of the paintings, motherwell would actually go back and add more black paint after they’ve been exhibited, adding meaning, narrative and dynamicity to his work
the spanish civil war is one of the main motifs repeated in the work and it is most present in his series ‘an elegy to the spanish republic’, which contains some of his most iconic paintings, those big canvases slathered with muted colors contrasting with large black areas of geometric and abstract shapes combined in a (then) unique way that makes the atmosphere of the work and gives it the ability to evoke feeling
If you guys (unlike me) have instagram you should go follow this guy @mancostudio
His name is Tom Manco and he does cityscapes from scavenged cardboard—I just saw such a cool exhibit of his work at one of the public libraries and im in love 💜
Books of 2023. THE EMPLOYEES by Olga Ravn. This was a very weird, very poetic, reasonably fucked up little book that I’ve had my eye on since it was released in English, and I enjoyed it! It’s one of those hugely ambiguous, “good luck sorting this shit out” type books, told in statements by the human and humanoid coworkers on a space ship (and there are alien artifacts involved).
Writing about art is difficult. Especially when you live in a town that doesn't have much art, you work full time and you also can't drive. It makes me feel as though I am restricted to the amount of inspiration around me I can find, unfortunately Bournemouth pier just really isn't doing it for me anymore. I love to be on the move, I love to see new places, but I feel as though I am never going to find the place that I want to be settled into forever. Or the place I want to go to is going to be too expensive and that I may as well just flush that dream down the toilet. And did I mention that the cost of living crisis is also making it even harder to be able to go out and explore anymore, that is on the odd occasion that the trains are even running at the moment.
It feels as though I wait for the one gallery to open up their new exhibition before I wander in and end up reviewing every show that they do, except for Martin Parr. I really don't think there was much to say about his work other than it's pretty and they're of beaches. This show, also presented by the wonderful Giant gallery, is called Body Poetics. I was reluctant to go to this show at first, and you want to know the real reason why I wasn't sure if I wanted to see it? It was because I hated the main piece that is advertised on all of the posters of the show, at first glance it essentially just looks like a furry wearing a winter outfit, I hate it. I'm not judging people who say it's their thing, but it really just isn't for me. I decided to give the show a chance anyway, though I had no idea what I was going to ultimately end up saying about it.
The show has been curated by a group of 9 different female artists from across the world. Most of the deeper meaning behind these works is feminist theory from the 70s and 80s and all of these works available to feast your eyes on are made from the 70s and onwards. The works also feature many contemporary values to what it means to be a feminist.
Upon general entry into the gallery, one of the first things I saw was Carolee Schneemann's Eye Body works. It features the idea of the social construction of the female / femme or queer body. The selection of works on the wall all featured different positionings of the body surrounded by materials; all of which discussed pain, suffering, political protest as well as joy and sexual expression. I for one was a huge fan of the collection of images on the wall, there are 4 different images. This one in particular is my favourite because it reminds me of a still you would see from a horror movie in the 60s. The way in which to see an image like this in the 60s would be terrifying, enough to make the film only available for an adult audience. I think it's visually fantastic and perhaps one of the stronger pieces from the show in my eyes, this is purely based around the fact there is little to no photography featured in the show and although I love art from every medium, I still feel as though I am drawn to photography the most.
This piece is Rite of Spring by Florence Peake. Her collection of works also feature the same themes as Schneemann when it comes to female / femme and queer attitudes of representation. I loved this piece from all of the colours it contained as well as the texture of it. I am obsessed with textures that have been edited as the piece has been curated overtime and think it really adds an extra depth of field to it. However, and this is not down to the artist, but rather the gallery. When I posted an image of this on my Instagram story a few days ago, I actually managed to tag the wrong artist in the post. This is due to the signs of the works being very unclear in the work. The list talks about two artists body of works, one being hers, but the sign simply named the work and wrote (opposite) on it while also displaying another list of works near the piece itself. It made the show very difficult to navigate and I apologise to Peake for giving another artist credit for the work.
The work above is Untitled (Hands Waving) by Kiki Smith. I feel like this work stuck out to me in the gallery space because it feels very simple in comparison to a lot of the complex works I saw in there; and sometimes it makes me feel bad because I don't look at everything in the space and immediately know what the deeper meaning behind the work is. This is a piece that I feel like I could stand there and look at for quite some time, it stuck out on the back wall full of eccentric colours and deep meanings, but this piece made me just want to wave back at her. I want to feel what she feels here. I love the focus on the hands, I think people can forget how expressive hands can be. How important they are, I don't want to sound fake deep and be like we take them for granted, but I do feel as though we forget how much we actually can do with them.
I think that Kiki Smith's work was some of my favourite pieces on show in the gallery. The other piece is a ceiling to floor length tapestry with star constellations and crescent moons titled Visitor (Stars, multiple crescent moons). In a way, I feel as though both pieces of work she displayed in the gallery really interlink with each other in opposing ways. The pieces all feel simple, with their matching colour schemes and dainty details all visible to the eye from afar. This piece in particular feels very feminine, the glitter, the stars in general, and like I said before the dainty details. It adds a whole new level of feminism to a piece of work without being an in your face piece of 'this is feminism'
TW: the pieces I hated the most in the gallery.
I was complaining on my story when I saw the show that I was so upset that they chose to use this model as the poster image for the show because every piece of work I saw in the gallery was so much better than this. Perhaps it's harsh to say this, but I feel as though this set of work felt like a whole waste of space, but I just hate it. I really hate it. The work is by Ad Minoliti who is all about the use of abstract forms of art to explore social aspects of the body and gendered experience. I see it I really do, I just hate that they chose to display a full blown furry. Perhaps that was the point, for it to hold a discussion, to use something so bold on the poster to advertise the show that it made people feel something. Enough to come to the show to see what it looked like up close. Maybe I'm being closed minded when I look at this, but I will simply just be walking straight past it next time I come to the show. On the other hand, some of the canvas works submitted by the artists were bright, bold and super eye catching. These were works I enjoyed to look at a lot more.
This piece was the one I enjoyed the most by the artist. This is Queer Modulor and it slayed.
I gotta say though, this is the bad boy that stole the entire show for me. This sculpture slowly rotates in circles and is literally full of surprises. Not only do we get the sculpture, but there's also a fun accompanying drawing of it in the gallery (I'm really sorry I don't want to post every detail of this show, but I urge everyone to go to this). This piece is by Rae-Yen Song and is called happy little leaf.
Next up is Guerilla Girls with Birth of Feminism. The group are very well known for their loud and outspoken media to discuss issues with being a woman and so it only made sense for them to be apart of the show. The poster adds an extra level of overall comedy to the end project.
Holly Steveson
Overall, I think the show is really fun. There's a bunch of outstanding forms of media and installation works and it's so nice to see a big artist collaboration in the space, a space that works really well for the works they are exhibiting. The only thing is I feel there is not much discussion to have with all of the works, rather they are good pieces by good artists and that is all that is left to say on the matter.
Body Poetics is on at Giant Gallery until 8 May 2023.
love is making your best friend an interactive table/spreadsheet of every single place you want to take her when she comes to your city and then creating a yelp page with the 47 corresponding locations for an easily viewable map + reviews + pics so she can choose. <3
Geoff Bent
Brooklyn, NY
geoffbent.com
@geoffbent_art
MANIFESTATIONS OF DEATH, a thematically united series of 27 oil paintings, is grounded on a simple visual dilemma: how does one physically portray nothingness? The incomprehensible can only be grasped obliquely, so I have constructed a crescendo of metaphors leading up to the bleakest embodiment of this disembodied concept. The continuity of…
如在展覽書籍中的Every Inch a Lady,其中透漏的敘事或許紀載著一個從色情轉變為情色,而使性癖脫離性成為判斷對象本身之過程;或可說是一個性化對象的意義轉變,這個意義轉變具有審美向度的內容;進而成為一種重新檢視的起點。書中影像表達一種顯著的美感,它至少帶有廣義上浪漫主義氛圍的光暈;或許有人會批評那是廉價的複製品,但不可否認它在感官上具有的效果。另一個面向上,這些相片還隱喻了一種解剖學視角;不僅是生理上的,還帶有生活上的想像指涉。自序中,Tina Small也闡述了她的期待、目標與現實。她如此說道:「雖然對很多人來說,我知道我被當作怪胎,但我更願意認為自己是獨一無二的。對於那些只將我視為嘲笑對象的人,我很高興提供我的圖像(images)並將收益存入銀行。對於那些意識到並理解他們的強迫症,但可以將它們放在更大的背景下並超越它們的人,我更樂意提供對自身的不同觀點,那不僅僅被是我身體屬性的總和。」文中她並無明確指出碩大的乳房使她的人生中遭遇何種特殊對待,但這也卻是激發我們想像的留白;而若人們接受到這樣的訊息,就面臨一個判斷:我們「應該」把她視為圖像還是一個真正的人?
Wed. July 19, 2023: Why, Yes I am Ranting Because I. Am. Done
image courtesy of Gerd Altmann via pixabay.com
Wednesday, July 19, 2023
Waxing Moon
Pluto, Saturn, Neptune Retrograde
Foggy, a little cooler, wildfire haze, sun trying to burn through
This is a ranty, burn-it-all down post, so you might want to skip it.
I keep thinking we’re much closer to August than we actually are.
And hey, I’m out of ink again, because of course I am. And I’m having…
Titled A Place Like Home, here is a rievew written by artist Eamon Colman about my me as an astist, my work and my current solo exhibition at the Easter Snow Gallery,
‘These are landscapes of the mind, or they could be landscapes, not as she sees them, but as she feels them. Rather unsurprisingly, Derval inhabits the same space, these paintings are paintings using the same imaginative space…
Photography Exhibition Review
VOICES OF VETERANS | MICHAEL ARMSTRONG
National Press Club Building, | Until 19 June 2022 – by appointment only – bookings to view the exhibition or to experience insights with the artist can be made at https://voicesofveterans.com.au/events
Molasses! A viscous substance primarily used to sweeten and flavour foods. A major constituent of fine commercial brown…
Saferkhan Gallery in Zamalek is showing a collection of work by the 20thC artist
What made a young francophone girl from Egypt’s elite, privileged class decide to turn her back on all of that and become an artist? To spend her family wealth on supporting Cairo’s Surrealist Group? To become an active Communist and spend years in prison? All the while painting and drawing evocative works that…
(The work cannot be recorded, but it can be taken as non-commercial used photos)
I went to AGNSW to see part of the Biennale of Sydney exhibition and I accidentally found Len Lye's work, but I found that it was not as good as the effect I saw on Youtube.
I think this is the influence of the exhibition medium, which made me decide that I will not put the work too small but to show a more macro world.