Archive for October, 2007

Moot Icon Pt. 6

Posted in art, work-in-progress on October 22, 2007 by artbizness

I was going to title this blog post “Loss of Perspective”…

I’ve found it quite difficult to decide where to put the perspective, and tried it about three different ways – first with the centre somewhere in the middle of the table, then in various other places before finally deciding to centre it on the head of the figure in the middle. Which kind of make sense, thinking about it.

Now that’s finally settled, I just have to paint lots of very straight white lines, and frankly I’ve got performance anxiety.

And there was me thinking it was going to be finished within a week…

Still – I’ve photographed it without the overhead lights on this time, which gives you a better sense of how it looks. Nearly there….

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Drawing Restraint – Matthew Barney

Posted in art, Shows I've reviewed on October 22, 2007 by artbizness

Drawing Restraint 9 2005.jpg

I went to see Drawing Restraint, a show by Matthew Barney, at the Serpentine Gallery in London this afternoon.

Matthew Barney’s work is very good, and I’ve been a fan for a long time. Its the kind of work that you can keep going back to over and over. It never gets boring and each time you go back there’s something new that you didn’t notice before.

It has to be seen to be believed.

Try this – one of the biggest pieces is a series of 30 – 40 foot slabs of petroleum jelly in various states of solidity, lying on, under and around 1-inch 8×4 slabs of plastic, topped with a great big long thin chunk of ambergris (or whale vomit) encrusted with prawn shells, speared with a plastic harpoon trailing a plastic rope that runs off to join up with other works in other parts of the gallery.

Confused?

Spend some time there. Walk around it. Smell it. Once the full force of its physical impact has registered you may find that other ideas and thoughts appear. Barney’s work often has mythological links and references, sometimes using masonic symbols in his work. Its quite intimidating if your not familiar with the lexicon, but its a great incentive to go and find out more, and I find his work thoroughly thought-provoking and educational.

If you’ve never seen his Cremaster cycle of films, I recommend that you watch at least one – they are the most heavily laden symbolic events that I’ve ever seen, and there you’ll get a true feel for his work.

The works in this show make me think in terms of whaling and the various ethics involved, of Moby Dick, and of oil-industry by-products. Whaling was once a much-used resource that has fallen out of favour. There are also interesting thoughts to do with escapology in this show. Much of the work focuses on the physical act of attempting to draw drawings whilst being prevented from doing so (hence the title) – trying to draw on the ceiling by bouncing on a trampoline or scaling the wall with climbing gear, or trying to draw on a boat that is being tossed about in rough seas – all of which are documented on video, and the results displayed for you to peruse – alongside Barney’s trademark photos of satyrs.

I’m always intrigued by artists who create a whole environment rather than just a finished work on a wall that stands alone, and Barney seems to be able to do this well without resorting to huge projected images in darkened rooms, un-like many other artists.

You know what? I’m going to give up trying to explain this to you, because I can’t. It’s too awesome for me to describe. If you only go and see one show this year, then please, please see this one.

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I Cannot Tell, Verse 1

Posted in poetry on October 18, 2007 by artbizness

This is my take on an old hymn – I’ve re-arranged the words to make a poem of lament. To me, this is a little more real than the usual triumphalist bullshit.

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I Cannot Tell Verse 2

Posted in poetry on October 18, 2007 by artbizness

Blogged with Flock

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I Cannot Tell Verse 3

Posted in poetry on October 18, 2007 by artbizness

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I Cannot Tell Verse 4

Posted in poetry on October 18, 2007 by artbizness

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Doris Salcedo’s Crack

Posted in art, Shows I've reviewed on October 9, 2007 by artbizness

I’m sitting in the main turbine hall of the Tate Modern, looking at a giant crack in the floor. This is the new work by Doris Salcedo.

The first thing you notice about it is it’s very obviously made. It looks quite cartoony. Not at all natural. It runs the length of the entire turbine hall, right from the door-post to the other end, and under a glass wall out of sight, maybe into some office space that we don’t know about. In fact, it runs right under Nicholas Serota‘s desk. Probably. When you look into it, it’s got bits of metal buried in the concrete. I don’t know how much concrete you’ve seen in your life, but normally concrete has stones and “bits” in it – with steel rods for re-inforcing, so it’s obviously not the real floor.

I’ve already seen some dumb student land flat on their face because they tripped over it, and I’m wondering how long it is before health and safety come and put barriers everywhere. It’s a very physical presence, and slightly disturbing (how did she do it? Did they raise the floor? Is the structural integrity of the building compromised?)

So, we’re in a turbine hall, that’s now a museum of modern art… turbine hall… power…? Dividing between those who have and have not…? Am I warm…?

On picking up the leaflet, I’m told its about racism. Huh? Well, the turbine hall was built around the time of the greatest imigration into British society (rebuilding after the war, 1947, etc.) Its called Shibboleth, because the word “Shibboleth” means “a word used as a test for dectecting people from another district or country by their pronunciation; a word or sound very different for foreigners to pronounce correctly.” Modernity is a European construct that excludes non-Europeans, etc..

Oh, and the bits of metal in the crack, are suppoesed to be like the chains of slaves.

Right. This is a particular bug-bear of mine. How are you supposed to get that? The problem is, some one at the Tate has written that as an interpretation, and it becomes the authoritative one. There’s the fascism right there. The leaflet says “Walking down Salcedo’s incised line, particularly if you know about her previous work..” Well, I don’t.

It’s a great work for people to walk around, trip over, drop things in, sit by, and so on, and so on. That’s ok. It doesn’t need a leaflet to tell you what to think about it. I’m also a bit pissed off with the security guard jackboots that have been pacing around me since I first sat down and open this laptop up. Grr.

I’m going to start a new tradition. When you see this work, come and drop a coin in it, and make a wish, like a wishing well. I’ve already dropped the first pound coin in, as you can see from the photo above. My wish is that art would get better, and that people would stop crowding work with their own interpretation. Heal the cracks, you might say.

On a lighter note, I just can’t resist a good innuedo. I’ve been trying to hold back for this entire post, but I can’t contain myself, so here goes.. I’ve been to see Doris Salcedo’s crack. Her crack was a lot of fun. Lots of other people had fun too. At the same time. It’s quite a deep gash. It’s huge. I could spout forth on her crack forever. I saw right into it. Etc., etc.,…

If you think of any other good ones, let me know.

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