Ships and Suns

Quentin Blake: The New Dress; Roy Oxlade & David Bomberg; Roy Oxlade: Shine Out Fair Sun; Tal R: Eventually All Museums Will Be Ships (Hastings Contemporary)

About a decade ago, the Jedward Foundation brought culture to Hastings. Hastings was having none of it, it would appear, preferring a coach park in the Old Town. And now what appears to be a dark wood clapperboard gallery has rebranded as Hastings Contemporary and the splendid collection of rather brown British twentieth century paintings has vanished. This is a shame, but the excellent Paula Rego exhibition will be mirrored by one by her late husband, Victor Willing. In the meantime, we have an Israeli Danish artist I’d never heard of, a mid century British artist I’d never heard of and the latter’s tutor. And a bonus room by Quentin Blake, who lives around the corner and remains prolific as ever. His drawings of Her New Dress are as charming as you’d expect.

But it is David Bomberg who steals the show and inevitably comes off better than his pupil Roy Oxlade in the same room. His art seems to be from an elevated perspective — Tower Bridge and the streets of London from a rooftop, the great bridge (aqueduct?) of Ronda from a distance, an odd perspective on a Ronda cathedral. He had dabbled in Vorticism, even before there was such a thing, but it is the perspective and diagonals that he keeps. Meanwhile there’s a hint of Walter Sickert in the colour range. More brown.

I kept recalling (and miss) the paintings of Palestine I saw at Towner — payed for by the Zionist Organisation in the 1920s — of a curiously unpopulated Jerusalem and environs from on high.

In the 1950s, impoverished and suffering from ill health, he worked in a bakery at Borough and taught art, with students including Frank Auerbach, Leon Kossoff and Roy Oxlade. I didn’t know Oxlade’s work, and inevitably I compared his paintings to the heavily contoured palimpsests of the other two. His work sometimes also includes a three dimensionality of layered paint, but not as heavy as Kossoff’s. His figures are curiously isolated, stripped of a spatial context, hanging in space. Whilst this isn’t always the case, he has a habit of naming his paintings Colour Object — White Back, Yellow Lamp and so on. He can draw a reclining nude, but not the supporting couch or bed, substituting abstract backgrounds. Presumably his Two Cherries are on a table, but you wouldn’t know it.

He wrote that “Paintings need the personality of a ‘face’, things, points of focus, without them they are like heads of people with eye-sockets.” I confess I struggled to find that personality but I think he needs more attention. At his best, his work reminds me of Cy Twombly, but Abstract Expressionism isn’t quite the right label. He claims to be reaching for a sense of authenticity, interested in “things, trees, houses, cats, people.” I wanted more cats.

Tal R was also new to me, and the title inevitably makes you think of the boats piled on the shingle visible through the first floor windows of the gallery. The ships are tall cruisers, a striking blue, but the main room is dominated by dozens of crayon drawings which are rough landscapes. In his canvases, the colours are scarcely less subtle, and they reward a slow looking. He’s an Israeli born artist, long resident in Copenhagen and I am assuming he’s Jewish, but the exhibition doesn’t state this. This becomes relevant with the boy in striped pyjamas and mask, who I took to be stood by a bed, Masken (2019). I wonder know if I misread the perspective and it’s oartway down a staircase. At first sight it seems naive, but perhaps is an inmate of a concentration camp. And then there’s Red House (2019), where the flat red colour echoes Munch’s red ivy covered house and the painted wood of Sohlberg, although they are Norwegian rather than Danish.

 

Also striking is Lords of Kolbojnik (2002-2003), that last word a kibbutz used term for the rubbish left over from communal meals. It is a colourful collage, leaning towards Pop Art.

E8D3DF4C-6E7E-47C9-93EF-7574285E0033So an interesting start as the gallery enters a new phase — Hastings will still get culture, even starved of some favourite images.

 

 

Des Chats comme Félix

Félix Vallotton: Painter of Disquiet (Royal Academy of Arts, 30 June—29 September 2019)

I had a grumpy wander around the Pierre Bonnard exhibition at Tate Modern, but it wasn’t doing much for me, or the crowd were getting in the way. Bonnard was part of a group of French artists, Les Nabis or The Prophets, who had mostly been to the Académie Julian in the late 1880s, and who were fans of Paul Cézanne and Paul Gaugin. Other members included Maurice Denis, Paul Ranson, Ker-Xavier Roussel and Édouard Vuillard.

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Snared

Laura Cumming, The Vanishing Man: In Pursuit of Veláquez (2017)

11DCFAA8-9739-41CB-8C40-CB74C289B9F0I was browsing the freebie table at Worldcon when I found this and picked it up. I confess that I haven’t much knowledge of Diego Veláquez, a seventeenth century Spanish painter, beyond Las Meninas as inspiration for Picasso and Pope Innocent X as inspiration for Bacon. It seemed to be a book about a single painting — and then I noticed the author was Laura Cumming, art critic for The Observer and author of On Chapel Sands, a biography of her mother’s hidden past.
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Exhibitions for Expotitions — July Update

I used to maintain a list of exhibitions, because I kept missing stuff. I’ve recreated  this, as it went out of date, and obviously this takes time. I’m based in the south-east UK so, with the exception of Dublin, Edinburgh, Glasgow and Tate St Ives, it’s stuff I can do in a day trip (unless I want to make an exception). I can’t pretend to completist (especially now I’m rebuilding) but let me know of stuff I’ve missed and I may add.

Information is presented in good faith — check opening days/hours before travelling and whether stuff is free.

I recommend the National Art Pass for discount — this and Tate/Royal Academy membership pay for themselves if London is getatable.

[Still to add: BALTIC 39, Courtauld Gallery,  Museum of London, Museum of London Docklands, National Museum of Wales, New Art Gallery, Norwich Castle Museum, Strawberry Hill House, The New Art Gallery, Towner, among others]

A longer list is here — andrewmbutler.blog/exhibitions-for-expotitions-updated-11-june-2019/ — and I will add an alphabetical listing. If I could teach myself mail merge, this would be easier (it Americanises dates).

 

Closes July 2019

 

 

Exhibitions for Expotitions — 11 June 2019 Update

I used to maintain a list of exhibitions, because I kept missing stuff. I’m recreating this, as it went out of date. I’m based in the south-east UK so, with the exception of Dublin, Edinburgh, Glasgow and Tate St Ives, it’s stuff I can do in a day trip (unless I want to make an exception). I can’t pretend to completist (especially now I’m rebuilding) but let me know of stuff I’ve missed and I may add.

Information is presented in good faith — check opening days/hours before travelling and whether stuff is free.

I recommend the National Art Pass for discount — this and Tate/Royal Academy membership pay for themselves if London is getatable.

[Still to add: BALTIC 39, Courtauld Gallery, Fitzwilliam Museum, Foundling Museum, Gagosian Britannia Street, Gagosian Davies Street, Gagosian Grosvenor Hill, Henry Moore Institute, Hepworth, Herbert, IKON, Jerwood Gallery, Kettle’s Yard, Leeds Art Gallery, Manchester Art Gallery, Modern Art, Modern Art Oxford, Edinburgh Modern One, Edinburgh Modern Two, Museum of London, Museum of London Docklands, National Galleries of Scotland, National Media Museum, National Museum of Wales, National Portrait Gallery, New Art Gallery, Norwich Castle Museum, Nottingham Contemporary, Nottingham Lakeside Arts, Pallant House, Photographers’ Gallery, Queen’s Gallery, Holyrood, Queen’s Gallery, Buckingham Palace, RAA, Royal Pavilion, Science Museum, Scottish National Portrait Gallery, Somerset House, Strawberry Hill House, The New Art Gallery, Towner, Turner Contemporary, Victoria and Albert, White Cube Bermondsey, White Cube Mason’s Yard, Whitechapel Gallery, Whitworth Art Gallery, Yorkshire Sculpture Park.]

Closes June 2019

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Drawn Together and Apart

Klimt/Schiele: Drawings from the Albertina (Royal Academy of Arts, 4 November 2018-3 February 2019)

The Albertina Collection was founded in 1776 by Duke Albert of Saxe-Teschen and now has a million drawings and prints, which rarely see the light. Here, marking the joint centenary if their deaths we get a joint exhibition of, well, not quite Master and Pupil, but evidently of two of the leading Austrian artists of the first two decades of the twentieth century. As the medium is drawing, and the fame behind Klimt is for paintings such as The Kiss and we probably know Schiele through his drawings, the younger man will win this draw off.
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Consenting Adults

Life in Motion: Egon Schiele/Francesca Woodman (Liverpool Tate, 24 May-20 September 2018)

A couple of years ago, there was an exhibition called Schiele’s Women at the Courtauld, and I swear that I wrote it up, as Schiele’s Sheilas (yes, I know), but fortunately or unfortunately I can’t find my notes. I think I bought the catalogue. But even without that I would have made the trip to the Pool to see one of their paired exhibitions— like Bacon and Lassnig or Klein and Krasiński where sometimes the pairings work and sometimes they don’t. Like whoever it was with Leonora Carrington.
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