Andre Wallace created "The Whisper", initially as a maquette, featuring two girls sitting on a railing. It was fully commissioned by Sainsbury's and exhibited at the Royal Academy in London. There it was spotted by Milton Keynes Development Corporation which commissioned the sculpture in bronze for a prime site outside the town's library. Now it is returning to Taunton where the inspiration for the piece was born - and it would be perfect if the models could be traced. Andre said the idea for The Whisper was developed from observing how people interacted in the town centre and formed one of a number of works that depict people from all walks of life going about their daily business.

Tuesday, September 29, 2015

Brian Sewell RIP 2

There is a letter in today's 29th Sept Guardian to which attention has been drawn. It concerns a press spat from 1994 no less, and it speaks ill of the recently deceased art critic. Some people have little sensibility, one should never speak ill of the dead because one will inevitably join them and then have to account for one's words. To carry on a dispute from ten years ago when the critic is dead is stupid but was it ever thus in base, trivial and disputatious contemporary art journalism. The letter is from one art consultant Susan Loppart, (who she? ed) 

The letter attacks Jonathon Jones article on Sewell for mentioning "a naive letter written by art world types objecting to Brian Sewell's attitude to contemporary art." and attempts to put the record straight for the art world's benefit. 
Ms Loppert states that Sewell was an art historian who was hostile to and ignorant of contemporary art. Further, he used the evening standard to vent his splenetic old fogeyism, virulent homophobia and misogyny, which says all about Ms Lopperts faulty world frame and her value system. Note that she tells us Mr Sewell was writing for the straphanger on the Ongar Line (which is a new one,) presumably Essex commuter man. His job and remit according to Ms Loppert was, as Stephen Stevens the one time editor informed her was "to be offensive without being libellous and to write for the lowest common denominator." She says that we felt the paper should have two art critics one for art dating from 1900 and one for old masters.
We note the 1994 letter signatories were:
Sir Eduardo Paolozzi, Michael Craig-Martin, Brigit Riley, Richard Shone, Rachel Whiteread, Marina Warner, Christopher Frayling, George Melley, Angela Flowers, and John Golding who she says objected to ""Sewell's deliberate cruelty and viciousness and asserts that he was "a puffed up fake. " She finishes the bile towards the deceased with this remark;"Is Sewell turning in his bile filled grave for none of his flailing at windmills stopped the inevitable triumph of contemporary art? "

Aside from what she asserts, one is entitled to ask two questions that seem very pertinent to Mr Sewell's often truthful writing and judgement:

1 Where in the considered philosophical rubric is there any truth or evidence that the aesthetic value judgements that apply to old masters have no value whatsoever when applied to the usual suspects pathetic kitsch?

2 If contemporary art has inevitably triumphed, then why has Ms Loppert put pen to paper to vilely mock the recently deceased? Doesn't that act alone betray total insecurity concerning the aberrant and fake visual culture that we inhabit courtesy of the usual suspects?

As one said at the start of this rant: "De mortuis nil nisi bonum," but that doesn't apply to the art world or does it? Taste is the measure of morality.

Friday, September 25, 2015

Steam not Stem?

During the period of writing this blog it has become apparent that mainstream secondary art education has in many ways lost direction and is not dealing with the needs of the 21st century student. Most of the reason for this is due to dumbing down of teaching and unconsidered application of technology, which is not and never will be (unless we are replaced by androids) the actual and real world. Considering this; below are a list of links to the current educational discussion concerning why art is important for everyone's education, not just for artist's. Sixty years after C P Snow's lecture on the two cultures we still have the same old, same old problems exacerbated by financial restraint and poor political reforms.

Link 1

Link 2

Link 3

Link 4

Link 5

Link 6

Link 7

Link 8

Link 9

Link 10

Link 11

Link 12

Thursday, September 24, 2015

The creative Industries and government

Laura Cumming has reviewed the Willian Kentridge exhibitions at Marion Goodwin and Parafin galleries. She writes this pithy commentary : 

" Do images have supremacy over words? Kentridge certainly pits them together and strongly mistrusts all rhetoric. His slogans are self-puncturing – Repudiate the Smell of Books, Eat Bitterness, Smash the Unhealthy Slogan – and in any case, as Andrew Solomon points out in the superb catalogue, Kentridge’s “qualm-riven” art is invariably a critique of dogmatism. Images – especially his type of images, whose evolution is as freely shown in stop-frame, mark by mark, as its erasure – allow for an intense gathering of thoughts and associations that may never resolve."

These two young men Barber and Osgerby are expressing their concern about the future of the arts and of the creative industries in the UK. They feel that the Tory government is genuinely hostile and is removing the cultural advances that have been made over the past few years. They write:

"Our government doesn't really value the role of creativity in our economy," said Osgerby. "The government seems to think that creativity is just something that is here and it'll just happen, but without the ability to educate and nurture it will disappear."

"They are scared by creativity because they don't understand it," added Osgerby. "They're cutting and they're closing foundation courses, which are probably the most important courses in the country. It's totally short sighted."

Barber added: "The foundation course is absolutely critical because it teaches you how to draw and how to look at things properly, but it also give you that opportunity to really find your sort of area before you then get into a degree course".

Dan Howarth: "Is London at a tipping point?"

Ed Barber: "I think probably yeah."

Jay Osgerby: "I think so. There are only so many areas of London that can become regenerated by creatives trying to find somewhere they can afford to live but still get to work. I can't imagine they can go much further out before people think it's not really worth it for them anymore."

Tuesday, September 22, 2015

Brian Sewell RIP

This week's Sunday press has reported the death at 84 of the quintessential British art critic Brian Sewell. He will be greatly missed because he wasn't afraid of the art world. He always told it exactly as he saw it and he achieved household fame as a TV media personality. Always self deprecating, he often said that what he wrote made no difference whatsoever to the art world where he was respected and reviled in equal measure. He thought the The Arts Council: “an incestuous clique, politically correct in every endeavour, the instrument of the unscrupulous and self-seeking, rewarding the briefly fashionable and incompetent”.

"Naked emperors" is one of the best books on contemporary art written in recent years and well worth a read. There are lists of his best quotes available on Google.
Two on Prime Ministers will suffice:
"A voice coach and a linguistics expert had interesting things to say, but, really, this was a good excuse to listen to some delicious voices and marvel at how Tony Blair so blatantly panders to the working classes with his erratic glottal stopping. I have no repeatable thoughts about Blair as a voice, ... It seems to me he is a man of extraordinary affectation."

and this one: "Thatcher knew nothing of the European customs and cultures with which we were allied,"

The Guardian obituary was very balanced with the following apt comments: "In Sewell’s view, Picasso produced in his dotage “some of the saddest, most degraded, most humiliating, repetitive, tedious, uninspired, obsessive and crudely painted banalities that have ever masqueraded as art”. He lashed out at Andy Warhol – “Few men have had a more destructive influence on art” – and showed no mercy for his old teacher Coldstream: “As a painterly influence, the harm he has done is extensive.”

Jonathon Jones cannot resist the chance at a side swipe and writes this nonsense.
“Only men are capable of aesthetic greatness. Women make up 50% or more of classes at art school. Yet they fade away in their late 20s or 30s. Maybe it’s something to do with bearing children.”

The problem with this opinion is not that it is offensive but that it is nonsense. It’s a load of cobblers. It was also baloney for Sewell to refuse to see the merits of great modern artists like Cy Twombly. He once upbraided me in person for writing an article in praise of Twombly. He couldn’t distinguish between overhyped artists who deserved to be shot down and the true modern greats. His vision, as a critic, was narrowed by this blindness to what is powerful in modern art. He had a very silly side." 
Maybe Sewell understood that what is powerful in contemporary art doesn't always guarantee greatness or longevity.

Thursday, September 17, 2015

Adam Dant election drawing and the Jerwood drawing prize

One has to have respect for Adam Dant, he has quietly gone on paddling his own canoe and ignoring the vagaries of contemporary art fashions and trends. He has produced many stunning drawings of an eccentric, quirky and acid nature, the deeper you look into them the more they reveal. So he was a natural choice as the artist to document the last election for parliament and he produced this 6ft wide drawing full of acute observation and observed comment.  You have to really look to understand all that is going on in the work and it rewards the effort. An excellent piece of work that puts the Jerwood drawing prize in the shade - especially as the second prize in 2015 was won by a video which says everything about the confusion and stupidity at the heart of their so-called definition of what constitutes a drawing. Anyone entering a drawing would have a right to be very resentful of the lack of any actual definition of what constitutes a drawing. 

Monday, September 14, 2015

Conceptualist trials

According to todays press Anish Kapoor is going to be sued by a French municipal councillor for not removing the grossly insulting anti-semitic Graffiti from his sculpture in the garden of Versailles. One offence engenders another and another as it were.
Meanwhile back at the RA (who are going to host a huge retrospective for one Chinese artist of conceptual renown) the gentleman himself is complaining bitterly about being ignored by the British. Someone really ought to explain to him British politician's attitude to the arts. Meanwhile over at the Sunday Times Brian Appleyard has taken out column pages by interviewing the artist.  It is all summed up by this cartoon from Hyperallergenic.

Waldemar Januszczak however discusses the best exhibition in London for some time the silverpoint drawings at the BM. Silverpoint is a truly humbling media, there is no going back or erasure to be had as the metal line is permanent. Yet it tarnishes and ages to give truly wonderful effects over time. It speaks of the artist's transience but it also demands the drawing skills of a Raphael or Michelangelo which means conceptual artists simply cannot do it. This is why as Waldemar says there are no artists around now who can handle it. Do beg to differ, there is the Russian artist Victor Koulbak whose silverpoint drawings are stunning.

Lastly an entertaining series of videos from TED talks about art and artists.

Monday, August 31, 2015


The values of Dismaland have pointed up a real problem with the status of fine art.

All art is vulnerable to new media techniques and exploitation by savants whose value systems are non-existent. The results are usually harmless and meaningless. So this post is a list of media links to sites where historical art is abused by the present to create mildly interesting dross. In a visual diaspora where art is no longer required to engage with meaning in images this is the sort of thing that some people find rewarding.  Miley Cyrus for instance can be found performing in fine art all over the net.
Banksy specialises in this one line joke, and there are literally thousands of great masterpieces used as the basis for photoshopped manipulations such as an entire genre of Mona Lisa's. Then there's the opposite, attempts to render ordinary snaps as works of fine art such as with legions of images on this website. Even the Daily Telegraph has got in on the act as here, but no-one considers the deadening effect that this crudity has upon the real devaluing of the original image and the despoliation of cultural capital and meaning that results.

Is this the future for all art schools? God help visual culture, if this is the future model for making a career in art. Take the time to read the online comments, and reported less than 5% of students who have completed the courses have found relevant employment - which isn't surprising considering the intensely practical nature of art education. How can anyone teach actually art processes online?

Unfortunately the UK now has a perfect storm in state education as a direct result of government policies.

Thursday, August 20, 2015

Dismaland Dystopian Depression

If you believe that conceptual art is of as much intellectual significance as any fairground attraction, then you will be pleased to know that proof has arrived at Weston super Mare where today sees the grand press opening of Dismaland, a conceptual art fairground based in the old decayed Lido. All the usual suspects and other "artists" are showing there under the overall supervision and invitation of mystery local Bristol boy Banksy. The local TV channel has termed Banksy as the apostle of urban regeneration  - if this is any form of urban renewal then the future's untenable.  Totally depressing how local councillors have swallowed the idea that this is some sort of urban renewal and regeneration because it will not be open for too long? Why are the British so keen on self-deprecation?

"The Julie Burchill 'Punch and Judy', the riot torn village, the 'magic castle' with a paparazzi and Disney centrepiece and, of course, an exit through the gift shop. Fun for all the family? No. Something Britain's seaside has never seen before? Yes." 
What does this all mean and why pay £3.0 entry to be depressed?
Waldemar Januszczak on Dismaland - he has apparently been quite a fan of Banksy's career!

Lastly an unintentional public art event when a big red ball broke free and went for a spin!

Monday, August 17, 2015

Anish Kapoor and stolen ideas.

Anish Kapoor is furious because the Chinese have absolutely no respect for anyone's intellectual property and he says that they have stolen his Chicago Bean sculpture. Comparing the two it seems that the surface finish of the Chinese version leaves something to be desired, amusingly their justification is that whereas Kapoor's original reflects the sky, their version reflects the ground which is to say the least, completely and utterly dissembling.  China's attitude is such that literally everything is up for grabs and the concept of originality is redundant.

Then there is this gentleman in Florida who had unauthorised copies of a sculptors work made in China and then installed them all over his real estate properties. He ended up paying the sculptor a six figure sum as compensation. However the billionaire who had the work copied has previous;
This isn’t the first time public sculpture shenanigans have landed both Olenicoff and Raimondi in court. In 2014 sculptor Donald Wakefield was awarded $450,000 after six unauthorized copies of his work, also produced in China, turned up at Olen Pointe and Century Centre. And earlier this year Raimondi sued the Palm Beach Opera for allegedly removing his bronze sculpture “Spirit Ascending” from its grounds and selling it for scrap."

Then there is this thoughtful post on the Asia Times discussion lines explaining why the Chinese find innovation problematic.  They also seem to be focussed upon stealing technology for various economic reasons.  Even the Harvard business review thinks that it is a big problem.

Wednesday, August 05, 2015

True attribution of that urinal

This week brings the news that some very serious conceptual chickens are coming home to roost and with a vengeance! It would be easy to overlook the very serious implications of this Edinburgh Festival exhibition, but it is profoundly serious as it undermines the legitimacy and the validity of the work of thousands of conceptual artists from Joseph Kosuth onwards. 
If the urinal was not a Duchamp readymade but actually Ms Loringhoven's idea (and it seems that the real evidence of Duchamp's letter to his sister proves it wasn't his idea ) then all conceptual art is founded upon an untruth. It can be proven that thousands of art students over the past thirty years have been indoctrinated into an invalid conceptual art cult. This is to say nothing of the legitimacy of the entire contents of some Post-Modernist art galleries throughout the western world that have also been founded upon and promulgate a total falsehood. 

The master narrative that Duchamp was the originator of the readymade is invalid, and the conceit that art can be made from anything that the artist selects as art is a also therefore invalid because the art condition does not and has never resided simply with the choice of the artist. If as Spalding and Thompson have stated the first readymade was not Duchamp's and he lied about the truth, then Kosuth's entire justification of the art condition that all conceptual art is actually art, is completely invalid.  

The art condition refers directly to Joseph Kosuth's philosophical proof that the artist's choice is all and everything that is needed to prove any object is art. This can no longer be held to be true or valid - if indeed it ever was!

Having just trawled through all the weekend art critics press are not surprised to note that there is not one so called critic who has reviewed the Edinburgh Festival exhibition above, which says it all! - probably the most important revelation of the truth about post modernism by any art exhibition of the past one hundred years and it doesn't even get a mention!  Such is the power of art as investment.

Anyhow if you want to examine the consequences of the above and judge your own sensibility suggest that you try running this Buzz-Feed and check out your score?

Tuesday, August 04, 2015

Richard Long

Brian Appleyard gets to interview Richard Long in this weeks Sunday Times. The interview concerns the opening of Long's exhibition in Bristol at the Arnolfini. For once Appleyard does a good interview, getting as close to the heart of Richard Long's work as it is possible to achieve. He is notoriously difficult to interview as he doesn't discuss his work with journalists or critics, he says in the text that the work should speak for itself which is exactly true.

Waldemar Januszczak sings the praises of the newly rebuilt Manchester Whitworth gallery in the Sunday Times of the 19/07/2015. He hopes that the new gallery will not loose sight of its scholarly responsibilities to the past as Tate Britain has done. He lets slip that Mr Nicholas Serota will retire in 2016?

In Saturday 25th July Gruniad there is an article on the row concerning Tracey Emin’s planning application for the building of an ugly modernist studio complex in the East End. The East End preservation society are disappointed by her proposal the replace the much loved grade 2 listed public house with an ugly functional studio.

Jonathon Jones comes up with another sublime piece of political correctness arguing that the nations art galleries are not the NHS so they should not be free admission. Seems that the article is mainly internet click bait because he has the gall to assert this:
If you look at the cultural history of Britain it is clear that until very recently we did not care much about visual art compared with, say, France or the US. Right up to the 1980s Britain was a country that preferred theatre, literature and football to visual art. The fact that our museums were free actually reflects this old British attitude that art is not really worth much, that it’s a second-rate cultural attainment."

He is obviously just out to provoke a response here, he wasn't around in the sixties so he really does not know what he is sounding off about.

Thursday, July 23, 2015

Some crowd funding.

This article in the Gruniad has got many people's goat according to the chat thread, because of what it says about the selection and exhibition of contemporary art by the insider group of curators, promotors, hangers on and the deluded.

The Jonathon Jones of this world really and truly do believe themselves to be some sort of privileged beings who can look down with superiority upon the taste of the general public. This article betrays this as fact. It is based upon two premises both exposed for full view in this; "The danger of crowdfunding is blindingly apparent. It subjects artistic endeavour to the whim of many people. This way of funding the arts is rooted in the deeply disturbing theory of the “wisdom of crowds”.

Not so Monsieur Jones - crowd funding gets things done that cannot be done in any other way because control of the media is so tight and so strictly censored by nasty vested interests. The wonderful thing about crowd funding is that it can challenge the ignorance of the status quo and provide an avenue for real dissent.
The other tripe is the assumption that crowds do not have wisdom, when in point of fact all art is subject to the wisdom of the entire crowd and culture over a much longer period of time than the Guardian's pages. 

Which brings us to the Woon foundation prizewinner here. There is little to say about this abstract sculptress, if indeed it she is that, apart from the sheer poverty of visual aspiration that it aptly demonstrates. But this is seen as merit - a very soft target. It's sad that these children's building block sets can be passed off as cutting edge avant garde sculpture. They are nothing remotely of the sort, let alone of significance.

Moaning about declining art values, wandered around the town this a.m. in a bemused state looking at local summer arts festival. Could not help wondering how visual art has become so meaningless both in it's aspiration and it's realisation.  At various locations throughout the town there are visual artists inspiring passers by and children to make art from discarded rubbish or paint on large sheets of cardboard. The result is that, what is being made is inevitably poor quality as below. What is truly depressing about the whole and entire effort is the fact that it serves to equate the notion of art with discarded rubbish and meaninglessness despite it's very well meaning intentions.  This makes it that much easier to drop it completely from the school curriculum, as is rapidly happening in the UK and US. If it is not art then it is not needed.

Lastly there is this really depressing article about the way in which political art has been rendered useless as a medium of protest. It has been politically absorbed as a fashionable adjunct of the challenging nature of contemporary art and it's teeth have been drawn. In effect, in such a brutal and duplicitous culture it has been reclassified as usefully trendy and totally ineffectual.

Tuesday, July 14, 2015

Waldemar yet again

This is a superb piece of critical excuse and double think. Having read it three times it is still total nonsense from Adrian Searle on Gerhard Richter in the Gruniad.
He writes:  " The squeegee Richter paints with sucks under-layers to the surface. Richter’s abstract paintings are always on the verge of saying something or resolving into some sort of image, but they don’t. If this were a TV you’d want to whack it with your shoe, in the hope that things might become clear. The title, Birkenau, refers to the Nazi concentration camp at Auschwitz-Birkenau, and, I have been told, under all that paint is a pencil drawing, copied from four photographs taken by an inmate of the camp, depicting piles of bodies. Richter realised that to paint the image, in his familiar, blurred realist style, was impossible. So it has been buried under a slurry of blacks and whites, greens and reds." 

It is explaining that the artist was unable to depict the photographic image he started with in pencil - so why on earth should we as the viewers bother with regarding the resultant meaningless slurry. If an artwork needs this kind of verbal explanation to tell us what it is actually about and that the representation is underneath what we are looking at - then it has failed completely as an artwork - end of.  It all suggests belief that is unsupported by the evidence.

This weeks Sunday Times contains an article by Waldemar Januszczak about the art that is available for viewing at stately home locations. As he says, the results of mixing some contemporary art with stately home environments can be poor. Houghton Hall he suggests is an exception where : " The entire front is bathed in a colour display designed by James Turrell to highlight different aspects of the Palladian architecture. This fabulous Son et Lumiere lasts an hour and a quarter. " 

Laura Cumming in the Observer thinks that the National Galleries attempts to link sound with it's paintings is a disaster. She says this; "Soundscapes is the worst idea the National Gallery has come up with in almost 200 years. It is feeble, pusillanimous, apologetic and, even in its resolute wrong-headedness, lacks all ambition."

"But then, like some wanton variation of the audioguide, where you can’t just use your mind and eyes, but must always be listening too, the sound breaks out and gets in the way."
All of which is strong stuff.

Friday, July 10, 2015

Waldemar Januszczak on Pollock

Jackson Pollock is in the news because of the big exhibition at Tate Modern in Liverpool.  Why would they think that Liverpool needs Pollock? The daft assumption with Pollock is that you can project anything meaningful into his painterly gestalt. Which indeed you can do, but you have to ask why bother if it's not actually there? Like the projected and imagined face in a curtain pattern. So Waldemar writes this about portrait and a dream 1953: "On the left the squiggles for a blur in which I thought I could discern a pair of lovers locked in an ecstatic embrace. I might be imagining it but that would be the dream. On the right, a monumental head has been part painted, part sculpted out of thick layers of grey and orange. That's the portrait. It's surely a self-portrait." Yeh but, no but, yeh but !

Laura Cumming is questioning Barbara Hepworth hard at Tate Britain in the Observer of the 28/6. She gets to the heart of the matter with this paragraph:
"There are more than 100 works in this show, yet somehow it still manages to stray away from the very odd character of her work. The evolution is perfectly conveyed, to be sure – the works getting bigger and more expensive in tandem with her flourishing career. But what is their essential nature? People are always saying that Hepworth’s art is elegant, fluent, tactile and above all graceful; it seems to me very often the opposite....  The satisfaction is almost there, but Hepworth always stops short of metaphor ."

She also gets her superb drawings right when she writes; "
Anyone who prefers her super-fluent drawings will appreciate the celebrated hospital images displayed in this show – surgeons and nurses deep in their painstaking work – and not just because the images are sensationally beautiful. What they achieve is exactly what the sculptures so often deliberately avoid – an articulation of the strange tension between figuration and abstraction in the real world around us." 

This is quite a perceptive comment about an artist who always refused to be defined in her work and it gets to the heart of the matter by suggesting that the drawings did the real work and the sculpture was almost an after thought. She also has a go at the curation and staging of the show - hurrah for that!

Some chancers will do anything to get noticed - so this truly dreadful conceptual artwork from Milwaukee artist Niki Johnson who needs to be noticed get lots of copy. She opts for cheap and coarse insults and offence and an irate public rises to the bait. She got all the publicity she wanted, for a work that doesn't work on any artistic or aesthetic level, it is just very poor in every sense even conceptual.  There is nothing to sustain conceptual art, once you have the meaning it's emptied out and in years to come it will become completely unintelligible. Much like this joke and quite unlike say Poussin or Michelangelo. Jonathan Jones  writes this incomprehensible copy in support: "As for Michelangelo’s gay art, it is still there mocking social conservatives at the very heart of the Vatican
He seems to be putting his prejudices in front of his criticism - so no change there then. There is no evidence that Michelangelo had any close relationships whatsoever. The perception that Michelangelo was a gay artist is untrue, according to scholar William Wallace the artist operated his business much like the Chief Executive of a medium-size company. He was also a much kinder man than is commonly believed. He paid his workers, well and never fired them. 

For once, have to agree with Jonathan Jones on public art the state of which this blog often complains about. He says;  "Egypt has shown the way forward. Workers of the world, rise up against bad statues. Topple these ugly excuses for public art. You have nothing to lose but your aesthetic pain."  Surely they have more to worry about than the state of their public art?

Silliest  piece of criticism this week goes to Alistair Sooke for this written about the Joseph Cornell exhibition at the RA;
"Still, at his best, Cornell made art that was utterly entrancing. I think of him as a kind of poet who chose to work with images rather than words. At his command, the banal could become marvellous: his small boxes leave us with the head-spinning sensation that they contain not throwaway odds and ends but entire worlds."
That Alistair, is quite simply what all artwork ought to do!

Jonathon Jones is more apt and he has done his homework. He says this; "This is a first-rate exhibition of one of the 20th century’s most inspiring artists. Come to the dream arcade, and put 10 cents in Mr Cornell’s imaginoscope." 

Wednesday, July 01, 2015

Serpentine Pavilion

More News

BBC 2 put out a film of state art hype late last night for the redoubtable Jeff Koons at the Whitney. For those who know nothing of contemporary art with the usual support; Mr Botney, Hal Foster, M Craig Martin, Mr D Hirst etc, etc.
Paradoxically the programme started to get to the bottom of the commodity brokers emptiness but it tended to refer to it as Koon's dark side as if this was Star wars and Koons was some sort of Darth Vader of the art world.  Soulless would be a better description of the endless Disneyland artefacts all crafted by fine Italian craftsmen and painted  by endless studio assistants.  Koons is a branded artist and his factories manufacture a form of kitsch, but it was Prof Hal Foster who apologised for this with the usual casuistic tripe about the work being an artful critique of kitsch, which is a shorthand for insider self deception. MCM's hype for the huge doggy made of live flowers was a good turn. The artist does churn the work out though, though he seems to have, like most of the usual suspects moved very little in content or meaning for some fifty years. I guess what sells well is what works best.  The BBC photography was very good and it concentrated upon the slick emptiness of the objects surfaces and gloss. The studied use of reflection as in Anish Kapoor does not convince, it is way too much fairground distorting mirrors, it's not as though the technology doesn't exist to use another kind of visual distortion that might work much better, now there's an idea some chancer could use! 

Serpentine Pavilion 2015 by SelgasCano. Though what this architect designed pavilion has to do with art is a quite serious question. It's primary purpose appears to be entertainment which it does as well as any fairground, but is any of it artwork? See it then you can decide?

The finalists for the prestigious Nissan award have been announced, they are a vaguely interesting selection of the usual tasteful and acceptable avant garde lite stuff.

Today's Guardian 30th June has a three page spread to further confirm the mythic status of the usual suspect. All of it publicity for his forthcoming new gallery in Lambeth where he will show his own collection of artworks beginning with John Hoyland!  Now that is a really interesting choice, his posthumous reputation could definitely could do with a boost. Unfortunately there is no middle way with Hoyland's brand of abstraction, it's garishness is such that you either love it because of the extreme colour or you hate it.  Much like the usual suspects artwork.

Came across this article in the Telegraph which provides some mild fun at the sculptors expense. There is a serious point to it though and it suggests two very serious questions?

One is that representational sculpture has gone down the pan because no-one knows the discipline and rules any more - they have died as a result of conceptual art orthodoxy. Most of these examples clearly show that the sculptors are strangers to callipers and plumb lines and have some considerable problems with looking.

The second is that the people who payed for these travesties to be cast must have very low expectations and visual standards to have had them cast in bronze. This is an extremely expensive procedure at any foundry. It is surprising they managed to produce the moulds though that also was probably done by the foundry technicians. Perhaps it is just that statuary depicting the rich and famous and the celebrity is just a minor art form. There is nothing here though to compare with the Andrew Wallace sculpture at the head of this blog - that really is a good public sculpture of two anonymous girls!

Wednesday, June 24, 2015

RA summer exhibition 2015

Little to discuss this week as contemporary art is in the summer doldrums. The RA summer exhibition has opened to critical acclaim though one wonders why, when it is largely the same old, same old, same old mixture of amateurism and useless state art. The courtyard has been filled with a pile of geodesic geometry that is quite meaningless shades of 60s Bucky Fuller and the rest is pretty much of the same well known genres. 
Alistair Smart writes in the Torygraph ; "The truth is, though, that, for all the attempts at modernisation, this is a Summer Exhibition like so many before it: a mix of the exciting and the execrable, your archetypal three-star show, a series of packed rooms that recall a high-end junk shop." 

......."if it truly wished to modernise, the Academy should consider the radical step of including half the number of exhibits: the Salon-style, pile-them-high, pack-them-tight approach just isn't suited to our era of ever-decreasing attention spans."

Despite the curation of Mr M Craig-Martin, one wonders exactly what Mr Smart means by modernise by exclusion, isn't it all about inclusion from Mrs Cutout to the PRA. Shurely shum mistake in a contemporary art context?? What would help would be to remove all the execrable stuff but that would mean "judging" it severely and we cannot have any of that that now, in our politically correct and mindless culture - can we now?

Note Richard Dorment is retiring from his job as art critic for the Torygraph and he looks back in amazement at his time there. he says this; " As for me personally I don’t by any means think I got all of it right. But I have many more regrets about the artists I failed to appreciate – Peter Doig is a good example – than the ones I now think didn’t deserve as much attention as I gave them, including quite a few of the Young British Artists who came to prominence in the Nineties."

Well there you go - he was sometimes quite wrong, as this blog has said many times! He shouldn't have listened to all that gallery guff he was handed and he now regrets the YBA's and all the attention that he gave to them. He will be missed though, but sadly for all the wrong reasons.

There is a Phillip Guston exhibition on at Timothy Taylor and Adrain Searle writes the fluff for it in the Gruniad. This does not make any literal sense:
The world itself is dumb enough. Guston was a painter of brute matter and even more squalid inclinations. He is a great corrective to so much fancy and flimsy tinkering in contemporary painting. He makes an artist like Anselm Kiefer look effete and mannered.

Guston didn’t dumb things down; he dumbed them up. You can’t escape how painted his world is, how nuanced and tragic and funny. Head and Bottle has a dreadful stillness." 

How on earth can you dumb something up? This is trite tripe about a cartoonist who used paint very, very, badly - no more, no less.

Thursday, June 18, 2015

Karsten Holler

Karsten Holler has turned the Hayward Gallery into a funfair complete with spiral slides for the undemanding. Inside the gallery we have Large Fly agaric mushrooms that revolve when you push them around. At night you can sleep in a wandering bed. Not so much an art exhibition as a funfair of non-meaningful arty events and entertainment. When is this sort of non-art guff going to end?

Laura Cumming comments:   "And this a troubling aspect of Höller’s show. It turns you into an all-out consumer, as well as a reluctant participant in the artist’s own enterprise. So, for instance, there is a memory game where the cards show fairground attractions on both sides – with one side slightly blurry, so that the eyes have trouble focusing. You can’t help trying it out. The game isn’t too hard, and turns out to be the very definition of child’s play for a smart kid. But for an adult, it’s a case of aggravated boredom. One has the sense of rejecting it in irritation and, at the same time, of unwillingly becoming another piece of what Höller calls his “material” – namely, our response to his game." 
If you are undemanding enough to play and thereby take part in the sociological experiment for the so called artist, thereby providing his material to play with !

The Serpentine Sackler gallery is showing work by Duane Hanson. Wondered where he had got to since the sixties when he was very big. Depressingly he seems to have moved little in terms of form or content in the intervening years. What is curious is to closely compare his work with that of Ron Mueck who also works in this particular genre. The differences are interesting to speculate upon, and although slight there is an ugly expressiveness to Duane Hanson's work that isn't just down to technique, which is casting figures from life in fibre glass. Maybe Mueck uses softer plastic materials and thus achieves a softer effect?

Thursday, June 11, 2015

Selected News for week beginning 7th June 2015

.Selected News for June 2015

Sotheby's London are selling the first version of Manet's barmaid at the Folies-Bergere on June 24th. 

We note that the full weight of the UK state art publicity machine has thrown itself behind Anish Kapoor because the French are insulted by the large rusting hulk he is showing in the gardens of Versailles. Always thought that the man was a conceptual artist? Here it seems is a representational object, but maybe that is just the publicity 
machine in overdrive. The latest news is that it has been extensively vandalised with spray paint, so who says art has no influence?

The Turner Prize-nominated conceptual artist Roger Hiorns plans to bury a decommissioned Boeing 737 under derelict land outside his hometown of Birmingham next summer. The conceptual work is designed to "amplify the contemporary anxiety which the object holds over us" and requires a £250,000 grant from Arts Council England.
The Birmingham-born artist, 39, has spent four years planning the jet burial and has earmarked a patch of industrial wasteland at Icknield Port Loop, a regeneration site, to stage this experience, which allows visitors to walk up and down the fuselage and sit in the seats.  Who is this £250,000 public funded project for? Surely not Art Lovers? Why cannot the lad find a private sponsor from the City?

Among the legions of artists that the state art regime promotes one can usually find one or two who are actually good. One such is Lynette-Yiadom-Boakye who is having her first London show at the Serpentine Gallery in Hyde Park. Rachel Cooke writes:
" - there’s no doubting that her reputation is growing. Sought after by collectors, her portraits are in several public galleries, the Tate and the V&A among them, and now they are to fill the Serpentine." She is definitely one to watch and hopefully will fulfil her promise.

Interesting article from Colin Gleadell about the number of Lowry fakes that are floating around. He writes; "it’s not just Lowry but other popular artists like Mary Fedden and Alfred Wallis whose fakes are sold in smaller auctions. Buyers need to be careful, buy from experienced galleries and auction rooms, take advice from experts and, above all, always look for a watertight provenance. Sellers, especially smaller auctioneers, should also do their due diligence. This situation occurs all too often." A symptom, no doubt of the times!

The Daily Torygraph has come up with the ten best UK art exhibitions of the moment: Weak selection at best from quirky painter Peter Doig, Defining Beauty, painting paradise, to Eric Ravilious who is very popular.  Just compare the Ravilious with Agnes Martin or Karsten Holler and then argue that art progresses, as if?

Then there is this "artist" who proves that some people will do anything to attract attention. What has this activity got to do with self portraits? Does it have any meaning whatsoever?

Thursday, May 28, 2015

Whitechapel Gallery

This weeks Observer has an interesting piece by Laura Cumming on Corin Sworn at the Whitechapel. Sworn won the Max Mara art prize and is we are told fascinated by the 1548 tale of Martin Guerre. She writes; "For this show amounts to a deconstruction of something simple that was made complex by historians and is now rendered dramatically simple, and strange, once again."

When the theme has been the subject of several decent films one wonders exactly what any "artwork" can contribute to the narrative in terms of aesthetic or artistic values?  A difficult task to take on anyhow.

Wednesday, May 13, 2015

Lynn Stainers Exhibition

This years Lynn Stainers exhibition was an interesting one both for both new faces and old familiar artists whose work we have seen before. The winner Waj Mirecki with viaduct and tank traps was a large well deserved beautifully executed watercolour. Lisa Wright is there again as is Michael Tarr. Melissa Scott-Millers, Front garden is a patient exposition of her considerable skills and David Piddock's Hanseatic Walk is a tour de force of geometry and thoughtful elements. Ian Hargreaves is also excellent and so is John Cahill's sunlight on morning frost which is exactly what it depicts. 

It's a shame that these are the wrong kind of artists who would never get a look in at ACE galleries. Yet their work is new, fresh and deeply engaged in thoughtful aesthetic values. The world is not just.
As Peter Fuller wrote in 1983: " I agree with Geoffrey Bateson, who once said that the passing of belief in the immanence of god within nature was leading men to see the world as mindless, and unworthy of moral, ethical and aesthetic consideration". Good thing that there are many artists around who still continue to carry the torch and who engage empirically with the real and natural world.