Showing posts with label art. Show all posts
Showing posts with label art. Show all posts

Sunday, 8 May 2011

Remembering and forgetting


We can only see the Sistine Chapel for the first time once, and we can never be surprised twice by the outcome of a poem or a novel, the unexpected modulations of a piece of Haydn or the wild ramifications of an improvisation by Coltrance. (from "Hubbub", p, 131)
True, we can experience many things for the first time only once. But surely it is possible that if one has forgotten the first reading experience and returns to a piece of literary work, he or she is still capable of being surprised at the outcome, or surprised at the sudden remembering of the outcome? Perhaps there are new things to be surprised at?


On the subject of remembering and forgetting.....

Song by Christina Rossetti

When I am dead, my dearest,
Sing no sad songs for me;
Plant thou no roses at my head,
Nor shady cypress tree:
Be the green grass above me
With showers and dewdrops wet;
And if thou wilt, remember,
And if thou wilt, forget.

I shall not see the shadows,
I shall not feel the rain;
I shall not hear the nightingale
Sing on, as if in pain;
And dreaming through the twilight
That doth not rise nor set,
Haply I may remember,
And haply may forget.
::::::

Remember by Christina Rossetti

Remember me when I am gone away,
Gone far away into the silent land;
When you can no more hold me by the hand,
Nor I half turn to go, yet turning stay.
Remember me when no more day by day
You tell me of our future that you plann'd:
Only remember me; you understand
It will be late to counsel then or pray.
Yet if you should forget me for a while
And afterwards remember, do not grieve:
For if the darkness and corruption leave
A vestige of the thoughts that once I had,
Better by far you should forget and smile
Than that you should remember and be sad.
-
-
I FORGET THE REST - Browning
-
-

Friday, 6 May 2011

Wine and epilogues

A Scene from “As You Like It” by Walter Howell Deverell


If it be true that good wine needs
no bush, 'tis true that a good play needs no
epilogue; yet to good wine they do use good bushes,
and good plays prove the better by the help of good
epilogues. 



Shakespeare's As You Like It.
-
-

Monday, 2 May 2011

It is not enough to look at 'the full picture'


It is not enough to look at 'the full picture'. We must look further. And this is why:
Take Quinten Massys's notorious The Ugly Duchess, with her outsize jaw and porcine nose, too deluded to realise how monstrous she looks in a low-cut dress; for centuries, the portrait has been interpreted as a vicious satire on vanity. But when reunited with her other half, in a recent National Gallery show, the rose the duchess holds is seen to be an offering for her husband, who gently reaches out to take it, full of affection. They are a most loving couple.
--from Laura Cumming's review of Only Connect.
-

Monday, 25 April 2011

A subversive Chinese connection

[click image to enlarge]

John Everett Millais's Esther (1865) | Handmade oil painting
The story might be that of a Jewish queen from the Old Testament, but it is the swathe of yellow silk that immediately strikes the viewers. Millais is said to have borrowed the garment from General Gordon, who had been given it by the Chinese emperor following his suppression of the Taiping Rebellion. Turned inside out, the wrong side of the weave creates an abstract pattern.
The painting is now on display at the V&A's Cult of Beauty: The Aesthetic Movement 1860-1900 exhibition.
-
-

Saturday, 19 March 2011

"a virgin with no legs to leave me, no arms to hold me, no head to talk to me"

1934 Magritte Le Viol 72x54 cm
The following is Susan Gubar's interpretation of Magritte's painting (above) in her article "Representing Pornography: Feminism, Criticism, and Depictions of Female Violation" (1987). Do you have a different take on the image?
Endowed with blind nipples replacing eyes, a belly button where her nose should be, and a vulva for a mouth, the female face is erased by the female torso imposed upon it, as if Magritte were suggesting that anatomy is bound to be her destiny. That the face associated with the body is sightless, senseless, and dumb implies, too, that Magritte may be subscribing to the view of one of William Faulkner's fictional surrogates, a man who celebrates the feminine ideal as "a virgin with no legs to leave me, no arms to hold me, no head to talk to me" and who therefore goes on to define woman generically as "merely [an] articulated genital organ."
While an anatomical surprise turns the female into a bearded lady, the articulation of the woman as genital organ makes her inarticulate, closing down all of the openings that ordinarily let the world enter the self so that Magritte's subject seems monstrously impenetrable or horrifyingly solipsistic. Paradoxically, even as it fetishizes female sexuality, Le Viol denies the existence of female genitalia, for the vulva-mouth here is only a hairy indentation. In this reading of the painting's title, the represented figure-robbed of subjectivity and placed on display like a freak-deserves to be raped: this is the only consummation which will penetrate her self-enclosure and, given the humiliation of her fleshiness, it is all she is good for. When the female is simultaneously decapitated and recapitated by her sexual organs, the face that was supposed to be a window to the soul embodies a sexuality that is less related to pleasure and more to dominance over the woman who is "nothing but" a body.

(p. 722) (Please note that the discussion of the painting continues for a couple more pages.)

The following images are also mentioned:

René Magritte : Tenant L’Evidence Eternelle, 1938.
La Philosophie dans le Boudoir, c.1947

-
-

Monday, 14 March 2011

"and as a day is not really a day because each day is like another day and they begin to have nothing"


The artist who created the pictured artwork: Juliette Blightman
Lamp, net curtain (courtesy the artist and Hotel, London)

From the exhibition guide: Juliette Blightman 'has introduced an arrangement of objects, including a vase [which I didn't see], a lamp and a net curtain, into a window space in the [Hayward] [G]allery.'
:::::::::::::::::::::::::::::::::::


| This is art. | Art, this is. | Is this art? | Art? Is this? |


The above were the responses I had towards different pieces of artwork displayed at the British Art Show.

We saw Charles Avery's one-armed snake observing a female explorer on the cusp of finding Truth while uncanny creatures roam the port of Onomatopoeia. We saw a Picasso-esque sculpture; it has a wine glass out of which wine doesn't flow for its silver-coloured mouth is completely sealed. Most impressive of all, we watched 1.5 hours of Christian Marclay's monumental project, THE CLOCK. One day, I'll watch the remaining 22.5 hours.

Did you watch the film, too? Which hour(s) did you watch? Can we swap hours? How?


The clock project reminded me of Borges's story "On Exactitude in Science" (an expansion of an idea in 
Lewis Carroll's Sylvie and Bruno Concluded ).

I liked Robert Wood's comment about the snake: "In the country of the serpents the one armed snake is king."
-

Monday, 21 February 2011

How is love like watercolour?

Paolo and Francesca da Rimini  (1855) by Dante Gabriel Rossetti 
Yesterday, when I was reading the following description of watercolour by Laura Cumming  in "New Review" (pp. 32-33), 'love' came to my mind, and I am still thinking about it:
Watercolour has a life of its own. You make your mark on the page and very soon it's not entirely yours. The paint sinks into the surface, seeping, running, spreading disastrously or drying too fast, forming suggestive blots or stains. No matter how quick you are – or how slow – it does not stay put, or remain stable. The colour comes, and it goes, drying unpredictably by evaporation.
Too wet and watercolour will pool, buckling the page. Too dry and it will stop the brush in mid-flow. It reacts badly to a drop of rain or too much heat, to the artist's impatience or aggression. Although it accommodates happy accidents, it is also disaster-prone right to the last-minute mishap of the water jar farcically overturned.
It cannot be displayed in direct sunlight without fading like Tinkerbell. So it is to some extent a hidden art, preserved behind veils or between the covers of portfolios and albums, languishing under wraps in stately homes and museums. Everyone knows that watercolour gradually weakens. Indigo can age to brown or even pink. The brightest green may dwindle to grey.
So romantic and melancholy, don't you think? Cumming is reviewing the exhibition "Watercolour" at Tate Britain, London (until 21 August).
-

Saturday, 5 February 2011

The Estorick Collection of Modern Italian Art

Every now and then it is very nice to go to a quiet museum that is not swamped with visitors, especially one that does not oppress you with one thousand pieces of art or more to see. Today, as part of our Saturday out we went to the Estorick Collection of Modern Italian Art, a pleasant, understated museum that is located in north London. Often, we were the only viewers in the room (there are six in total) and for that reason, we could appreciate and meditate on each piece of work carefully.

Note-taking
Five of the pieces that I liked:

1. "Landscape with Swan" (1947) by Filippo de Paris, Oil on canvas, 50.5 x 73.5 cm.
I couldn't find an image of this painting online. It is a painting presumably of a park and on the left front of the canvas is a big man-made pool on which a swan is proudly present and its posture at first sight unmistakeably pronounces that it is the eponymous bird of the title. What captured my attention is the appearance of another swan further away - more meek, it is not as attention-seeking, and yet its existence calls the title into question. Jeff, however, argued that the smaller bird is not a swan at all. If you ever go to the museum, do take a look  at this image for me, and let me know your thought.

2. "Mushrooms by the Sea" (1931) by Filippo de Paris, Oil on canvas, 53 x 63 cm.
I spent a long time looking at this painting, below, which has been compared to works by Salvador Dali. I was particularly interested in the large sky and beach in comparison to the relatively small sandwiched sea -- an ungenerous darkened sliver of blue. The family of mushrooms (three adults and two children?) of the title are surreally gigantic, even monstrous with some large phallus-like stems. While the 'adults' are painted in earthly brown and green, colours that remind one of soil, roots and slight decay, the 'children' are painted in a mixture of yellow and orange, as if they are caught in mid-transformation. We know soon they will also turn dark, shedding their more joyous tone. I felt that the mushrooms yearn for the sea and sadly it is not meant for them (affective fallacy).
Mushrooms by the Sea
3. "Little Man in a Street" (1948) by Ottone Rosai, Oil on canvas, 53 x 38cm.
Again, I couldn't find this painting online. It is an image of a small man in a big coat walking, alone, on a village lane. We only see this man's back: his hands are crossed behind his back and his head is lowered, his hat in place. What was captivating about this painting, for me, was that the 'street' with its high concrete wall on one side adds a catastrophic feel to the scene and appears to be a segment of a large labyrinth. In that confined space, the walker is completely sealed off from the outside world. If the walker is trying to find his way out, he does not seem to be in a hurry or in any agony. Perhaps there is nothing outside of that labyrinth to inspire him to enthusiastically solve the puzzle. That, for a moment, made me very sad.

4. "Ashtray" (1958) by Renato Guttuso, Oil on canvas, 58 x 67cm.
I am drawn to paintings of ashtrays partly because my father is a smoker; he has started smoking since his teenage years, a fact that worries me constantly (read my poem "Cigarette Butts"). In Guttuso's painting, part of which you can see below, there is a collocation of a dozen or so cigarette butts, and strangely, although there is only one can (or glass?) left on the table, three of the butts are still lit; their orange spots signifying life. Together, they leave curvy Aladdin-style smoke reaching the upper end of the canvas. Who were the smokers? Why did they leave the room? Was the departure intended to be temporary only? I kept trying to see some kind of pattern in the smoke: a fading face, a random letter. But in the end I got nothing. The smokers have left the room, leaving the viewers a mystery. And the smoke is complicit.

Ashtray
5. "Landscape with Lovers" (year?) by Renato Guttuso, Pastel on papers, 48.5 x 68cm.
This is an image of a narrow road between a stone wall and a row of olive trees (see below). The stone side is brown and black and the trees side is yellow, almost glorious, and the dark distinct branches echo the cracks of the opposite wall. At first, I couldn't spot the lovers, since they are perfectly blended into the stone side of the painting. Their clothes are of a similar tone to the darker stone making up the wall, suggesting their working-class background. Once they are 'found', however, it is hard not to see them in the painting. The lovers, obviously in love, are kissing intensely and are perfectly oblivious to their surrounding and any potential voyeurs. Their oblivion causes the viewer to be aware of and feel guilty for his/her intrusion. The onlooker wants to be discreet, look away, and leave the young couple alone. But at the same time he/she is drawn to them one more time, focusing on their lustful interlocked mouths, the woman's fleshly buttocks, the concave and convex of the lovers' bodies down the waist. The hidden erection and wetness. Then he/she reluctantly moves on.

Landscape with Lovers

A shorter version of this appears here.
-

Saturday, 1 January 2011

Wish You Were Here? Postcards from the Future

"Wish You Were Here? Postcards from the Future" is an exhibition of fourteen digitally-transformed photomontages of recognisable London landmarks by Robert Graves and Didier Madoc-Jones showing at the Museum of London. These images depict the possible impact of climate change on the city. 

The most captivating postcard, for me, is "The Gherkin" (although the building is commonly known by this name, it is officially called "30 St Mary Axe"), pictured below. The image reminded me of public housing estates in Hong Kong (I am familiar with them) and one of the photographs in Alvin Pang's series "We Belong Together" (published in Issue #12 of Cha). 

Click image to enlarge 
© Robert Graves and Didier Madoc-Jones.

The descriptions says:
The iconic City office tower is now high-rise housing. Originally converted into luxury flats, the block soon slid down the social scale to become a high-density, multi-occupation tower block. The Gherkin now worries the authorities as a potential slum.
Refugees from equatorial lands have moved north in search of food. They make their homes in the buildings that once drove world finance – before the collapse of the global economy.


The exhibition is on until 6 March 2011. Alternately, you can view all the postcards and learn more about the project, first conceived in 2008, at the "London Futures" website. 
-
-

Thursday, 23 December 2010

The Book of the Dead

-
"Truth is in my heart, and in my breast there is neither craft nor guile. -- The Egyptian Book of the Dead
-
Today we went to the British Museum to see the Journey through the afterlife: ancient Egyptian Book of the Dead exhibition. It was a truly worthwhile visit. 

According to John Taylor, the curator of the exhibition:
‘Book of the Dead’ is a modern term for a collection of magical spells that the Egyptians used to help them get into the afterlife. They imagined the afterlife as a kind of journey you had to make to get to paradise – but it was quite a hazardous journey so you’d need magical help along the way. [Read more here.] [Want to read all the spells? Try here.]
I was fascinated by many of the things we saw (and listened to - the audio guide is highly recommended). Below are some of the things I found interesting:
  • The ancient Egyptians strongly believed in the power of the word, both spoken and written. Carved or painted images also had power. Their faith in words and images led them to believe that magical power could be activated when certain words were uttered or images created.
  • There are altogether about 200 spells in The Book of the Dead but usually a manuscript would contain only a selection of these spells. 
  • There is at least one thing that the Egyptians and the Chinese have in common: simplified characters. In many papyri made between about 1550 and 1100 BC, a special simplified script was used, now known as Book of the Dead cursive hieroglyphs.
  • Sometimes, texts were written on the surface of the coffin, used by the living to resurrect the dead. And inside the coffin were the spells needed by the coffin lodger. This makes sense. But what if the two sets of texts were accidentally reversed, I wonder?
The exterior and interior texts of this coffin were catered for different readership
  • Not everyone could read the traditional hieroglyphic script. Sometimes the Book of the Dead was written in hieratic, the script for daily life. The Book of Dead of Padiamenet, chief baker of the temple of Amun, for example, has only six spells and they were written in hieratic, probably the script he was more familiar with.
  • There were also pictorial funerary papyrus rolls available. The illustrations delivered the full power of the spells. Below are two examples demonstrating the results of correctly-cast spells:
spell 59. The Goddess Nut in a tree feeding Tameni and her ba spirit
spell 81A. Spell to transform into a lotus flower.
spell 87. Spell to transform into a serpent.
  • Surprise! Surprise! Between about 1500 and 1100BC most funerary papyri were made for men. Sometimes, wives were portrayed alongside their husbands but only the men were named. From about 1100 BC women also began to have their own papyri.
  • I think the woman below is smoking. Her name is Anhai and she was a Chantress of Amun and the Chief of the Musicians of two cults. Her high social status is reflected in the large size of her papyrus and the use of gold leaf to embellish some of the vignettes. 
Click image to enlarge
  • I like the image below. These are women portrayed on one papyrus; they are mourning the death of a family member. Must they all show their nipples? Are those red things nipples or parts of the garment? I am no costume historian. 
Click image to enlarge
  • Have you seen a mummy? Did you know how a mummified body is reanimated? Answer: "The Opening of the Mouth ritual reanimated the mummifed body. Originally a ritual to enable a new born child to breathe and feed, it was performed on mummies to restore their bodily faculties. By touching part of the face with special implements a priest made it possible for the dead to see with their eyes, breathe through their nose and speak with their mouth." Interestingly, the tools used in the ritual were also those used by midwives. 
  • Do not judge a person by his/her mask. Often, the mask did not reflect the real face of the deceased but how he/she would like to appear in afterlife. That's why these masks all seem to depict young countenances with smooth skin. Also, because the gods had gold flesh and blue hair, the masks were often covered with gold leaf and blue paint was used for hair.
  • After all the ordeal that the deceased went through, he/she faced the final judgement, during which his or her heart was weighed against a feather of truth. The heart would be fed to the Devourer (a female monster with a body that was part lion, hippopotamus and crocodile) if it was heavier than the feather; and if the heart was light, the dead person would be granted permission to fly with the Sun god to the Field of Reeds, which was an idealised version of Egypt.

    The interesting thing about the weighing of the heart is that during the process, the heart could speak and reveal unflattering secrets about the owner's life, which could affect his/her chances to advance to paradise. For this reason, there were spells to mute your heart. For example: "May nought stand up to oppose me at [my] judgment, may there be no opposition to me in the presence of the Chiefs (Tchatchau); may there be no parting of thee from me in the presence of him that keepeth the Balance!"

    Since one of the sins the Egyptians were judged for was lying, this seems like cheating. Still, it's better than having your heart eaten. 
Weighing of the heart
The exhibition is on until 6 March 2011.
-
-

Saturday, 18 December 2010

Exit Through the Gift Shop

On 2nd December, 2009, I posted these Banksy images on my previous blog:


Responses:

[Click image to enlarge]

Recently, I watched Exit Through the Gift ShopIt's a reasonably enjoyable film, and one of the highlights, for me, is this counterfeited tenner:


-

Sunday, 12 December 2010

Nude and naked

“In the 1950s, art historian Kenneth Clark distinguished between the terms ‘nude’ and ‘naked’. For him, ‘nakedness’ implies discomfort and embarrassment. Nudity meant not ‘a huddled and defenceless body, but … a balanced, prosperous and confident body: the body re-formed’. Twenty years later, another art historian, John Berger, offered a different definition: ‘nakedness’ was honest, whereas ‘nudity’ turned the human being into an object of display. He declared that ‘to be naked is to be oneself…. to be naked is to be without disguise’.”
How do you define the terms ‘nude’ and ‘naked’?


Click image to enlarge. From a visit to the Leeds Art Gallery in September, 2010.
-
-

Saturday, 11 December 2010

Philippe Parreno at the Serpentine Gallery

Last Saturday after a day in the city, we went to the Serpentine Gallery in Hyde Park to see an exhibition by the Paris-based French-Algerian artist Philippe Parreno (b. 1964). The exhibition has been getting a lot of attention for its originality and skill and we were interested to see if it could live up to the hype.

The exhibit is made up of four video installations. While most video works presented in a gallery are continuously played on a loop, these four videos are projected in order and the viewers are led from room to room by lights turning on and off and blinds coming up and down. In this way, Parreno creates a unique gallery experience and forces viewers to follow a particular pattern and to watch the videos to their end and in sequence. This is in stark contrast to our normal experience of video art in which we may spend a moment or two in a darkened room before moving on to the rest of the exhibit. Fortunately, Parreno's works are much more skilful than most video installations (which often amount to little more than terrible movies) so you don't mind watching them through.

A still from "The Boy from Mars"
The artist may have wished that viewers begin with a particular video but the practicalities of running a permanent exhibit means that the cycle of four videos is being continuously run and therefore for the viewers the first film will be whichever one is playing when they enter the gallery. As it turned out, we first caught the end of "No More Reality" before moving onto "The Boy from Mars" (2003) and therefore for us, this was the first complete work in the sequence. "The Boy From Mars" is a film based on an eco-installation that Parreno created in Thailand. It involves a machine in a tent operated by water buffalos and in the video, this eco-installation becomes part of a mysterious landscape. The film records a day in the life of the area: it starts as night is falling and slowly each section of the tent and then streetlamps are illuminated. Then some mysterious lights also appear in the sky, accompanied by rumbling sounds reminiscent of airplanes or perhaps UFOs (later, the video reveals these to be candles). The rest of the work shows often disturbing and poetic images of the same region moving from morning until the next evening. At the heart of the region seems to be a glowing light on the side of a building which we can only assume is related to the boy from Mars. What we are exactly supposed to take away from all of this is uncertain, although the ambiguity in this case is not frustrating but contributes to the overall sense of mystery.

A still from "June 8, 1968"
The best of the four videos for me came next – "June 8, 1968" (2009). It opens with a jolting image of a train in mid-motion. Throughout the film, we see things from the perspective of someone on this moving train starting on the tracks but widening to show the surrounding landscape. Soon, silent and motionless people, dressed in 1960s style clothing, begin to appear along the tracks. They are all watching the train mournfully as it passes, yet we never know what they are watching. However, there is a clue in the title, as on this date a train carried Robert Kennedy's body from New York to Washington and almost a million people gathered on the route to pay their respects. Parreno's video is based on images from Paul Fusco, who was one of the people on that train. The effect is that we are in essence watching a funeral without knowing who the funeral is for. I am glad I did not know the significance of this date while watching the video and was free to form my own interpretation. For me, the train seems to symbolise the arrival of something imminent, perhaps bad news that could alter people's lives. The elegiac faces, I thought, were mourning the end of their current lifestyle. The fact that the gathering people were largely motionless also gave me the feeling that they were bound to where they were and therefore were sad to see the train pass them by, not bringing any one of them on board. Some of the images (they are all very beautiful): a girl on a floating boat on an empty lake, a boy holding the bars of his bicycle, African-American workers sitting on top of another static train, four people occupying different levels of a slope, etc., also encouraged me to construct stories about them. A thought-provoking seven minutes.

A still from "Invisibleboy"
The next video is also the artist's latest, "Invisibleboy" (2010). The boy in the title is an illegal Chinese immigrant hiding in what appears to Manhattan's Chinatown. When he awakes from his sleep in his junk-filled flat, there are no guardians around. They are presumably among the people we see working or playing mahjong in a restaurant. The boy is invisible in two ways, both to the authorities and to his elders. What makes the video interesting is the appearance of a number of creatures scratched onto the film stock—they are wandering on the streets, hiding in various domestic places and looking bored at a restaurant. These creatures add a kind of ghostly aura and a sense of doom to the film. The tension is further heightened by an instrumental score that grows more insistent as the film progresses. Although Parreno builds the tension as if moving towards a climax, the ending is deliberately unresolved. It is perhaps suggested that the invisible boy identifies with the scratched creatures, or perhaps they are authorities coming to take him away.

"No More Reality"
The final film "No More Reality" continues the themes of invisibility and uncertain reality that we encountered with the unseen Martian boy, the unknown cargo on the train and the Chinese boy. The work begins with children's chanting which you can hear in all the rooms in the gallery, creating a disorienting effect for viewers who are uncertain where the next video will be shown. When the video does appear, we see French children chanting and holding placards saying "No more reality". What does this protest signify about the reality of the images we have just experienced and their implications for the viewers and the work? Do these children, too, long to escape reality and become invisible?

The exhibition is on until 13 February, 2010. A shorter version of this review can be found here.
-

Friday, 10 December 2010

The Museum of Brands, Packaging and Advertising




When it comes to collecting, I have nothing on Robert Opie. Opie is an avid collector of consumer products and packaging which are on display at The Museum of Brands, Packaging and Advertising in Notting Hill. The museum features products from the Victorian era through to today. Displayed in jam-packed glass cases almost as if they are shrines to materialism, Opie’s collection features a wide variety of products including early postcards, cigarettes, cosmetic pieces, household cleaning items, confectioneries, wartime posters, boardgames, early household appliances and more.

For me, the case devoted to the Great Exhibition of 1851 was one of the highlights. The Great Exhibition showcased the ‘art and industry of all nations’. Over six million people came to see the thousands of exhibits. In a Victorian magazine, it was claimed that “In no other country of the world could such an exhibition of the industrial arts have taken place.” Interestingly, I heard something similar from Neil MacGregor, the director of the British Museum, who was responsible for putting together the new BBC radio programme, “A History of the World“, which discussed human development through 100 objects from the museum itself. MacGregor claimed that only the British Museum could put on a programme of this scale. Undoubtedly true, but this is also a reminder that Britain is still dining out on the legacy of its empire.

The Brand museum was also full of other curiosities. For example, the early typewriter shown below from the Nineteenth Century. You may not be able to see it, but the keys are not in the QWERTY format, common today. 


I was also struck by the old candies and chocolates. Some of them still in their original wrappers. For example, the collection has some liquorice all sorts and chocolate bars from the 1930s, which are still intact. The effect was somewhat eerie, as the products were never consumed as intended but are still being consumed in another way.

There was also a lot devoted to the two world wars including propaganda posters, patriotic advertising by corporations and a wide variety of other consumer products related to the conflicts. Two of our favourites were a satirical reworking of Lewis Carroll’s Alice’s Adventures in Wonderland called Adolf in Blunderland (by James Dyrenforth and Max Kester in 1940). The other was a stuffed Winston Churchill who looks more like Chairman Mao or a gangster rapper (he is giving the V for Victory sign sideways as if he is coming from the hood) than a Prime Minister.

Adolf in Blunderland
Winston Churchill and his famous "V"

I found the materials from the Nineteenth and the early Twentieth Centuries much more interesting than that from after the Second World War. This is perhaps because the older items are much more alien, while still being strangely familiar. When we arrived at the more modern sections, we felt a sort of collapse in interest, probably because we were then surrounded by things which were easily recognizable. It is as if the mystery was gone and we were back to the supermarket.

I also wished that the museum had been a little more curated. There wasn’t much information and the importance of objects was sometimes lost when included with dozens of others in the same case. However, much of the charm of the museum comes from ‘the old curiosity shop‘ feel that it provides. We were constantly reminded of the owner’s passion for collecting, and one could still see his areas of interest clearly. When we were leaving the museum, we saw the man himself, walking into his kingdom.
-
-

Saturday, 20 November 2010

Van Gogh and his oranges

This post was originally written on 24th January, 2010.

When we were having dinner with our friend Jonathan (also the prose guest editor of the second anniversary issue of Cha) in a Sichuan restaurant in Soho, London (by the way, I took the men to the ‘wrong’ restaurant),1 & 2 we discussed many things, including writing, publishing, our favourite world cities and art. I learnt then that he likes van Gogh and recently he also mentions this in his blog post. Today, when reading an article by Laura Cumming about a new exhibition “The Real Van Gogh: The Artist and His Letters“, we were reminded of him. We will probably go to the exhibit and here’s just a foretaste of what’s being shown. Cumming’s writing is beautiful and below, she is describing “Still Life with Basket and Six Oranges”, painted by van Gogh in March 1888:


There is a table top of oranges in this show so incandescent one takes a dazed step backwards. the white cloth scintillates, racing up towards the brilliant blue aura of a basket formed of twining, dancing willow. The oranges within form a troupe of glowing spheres. The very walls seem to be watching the show, admiring the celluloid crackle of sunshine on peel, the singular beauty of each fruit, the sensational all-together-now performance. Why should oranges not be some kind of miracle. — Laura Cumming (Observer, 24/01/2010)
1 We planned to go to Barshu, which Jeff and I went in November last year (it must be for my birthday?) and were very very impressed by the food. But I ended up taking the men to another restaurant across the street. In my defense, it was dark (it was half past five?), both restaurants serve Sichuan cuisine and the pricing is similar. Plus, their names are also very similar, in English anyway. Okay I should have read their Chinese ….

2 It looks like we are not the only ones who have made this mistake.

6 Responses “Van Gogh and his oranges” →

January 24, 2010
You’re a most generous blog sharer, T. Thank you kindly. I am indeed a huge van Gogh fan and if you can track down Adam Gopnik’s article on van Gogh and Gaugin (as mentioned in my blog) I highly recommend it. Having read van Gogh’s letters to his brother Theo, I feel he is so misunderstood. That the myth of the madman has overshadowed a man who could also be profoundly tender, sensitive … all the things we can see in his paintings. Granted the boozing, prostitute visiting van Gogh is definitely another legitimate and widely accounted for side of the complex Dutch painter.

I passed your name (and site) onto a professor friend who is also a poet and who spent time in Asia. Wicked smart and I thought he’d love your work and that you might have some things in common.

Seems you (your site) have (has) become a sort of meeting place for many an interesting mind.
Rock on, sista!

t
January 24, 2010
Yes, JM, I’ll have to physically track down Gopnik’s article as it is ‘linkless’.

Thank you for passing my name and site onto your friend — much appreciated.

Your blog is great (I know you know it). We love your discussions of books, films, and your sharing of your take on life.

j
January 24, 2010
JM,
Thanks for reminding me of the Gopnik article. I heard an interview with him about it, and I meant to read it.

It was nice meeting you in London. Even though we went to the wrong restaurant, the shrimp was still great.

Jonathan Mendelsohn
January 25, 2010
Jeff, I’m still recovering from the cost of the meal (no idea how you guys can afford London) but those shrimp … my oh my!

T, kind and appreciative as always. Muchos gracias!

Jim Pollard
January 27, 2010
orange blossom tea
shivers running up my spine
her foot touching mine

David
March 20, 2010
This is one of my favourite paintings.
-
-

Saturday, 6 November 2010

Coincidence -- Campion copies Hopper?

This post was originally written on 1st September, 2010.

Read a review of Bright Star here.

Edward Hopper: "If you could say it in words there would be no reason to paint."

Bright Star
"Morning Sun"
-
-

7 Responses “Coincidence?” →

Jonathan Mendelsohn [Link]
September 1, 2010
What a cool find! I can’t imagine there is a coincidence.

I can imagine if I were a filmaker having many a desire to copy Hopper paintings as still scenes in my movie. Is there a more gorgeous, if elegiac painter?

Hopper has had me dream of his gas station by the side of the country road at dusk many times.

t
September 1, 2010
I agree — it can’t be a mere coincidence: the bedroom, the morning sun, the bed, the lone woman, the oblong shadow, the gaze … there are too many similarities. Of course, our mind is very capable of seeing what we want to see….

September 1, 2010
I haven’t seen the film, but in general I would say the temptation to put beautifully composed still frames – especially when they are landscapes – are one of the greatest obstacles to the flow of the narrative of a film, even if a film is more poetry than a story. I don’t know what happened with this film, but I am always wary of films when cinema is treated like a visual montage or sequence of photos…

t
September 1, 2010
But I love ‘moving postcards’, as in the film Let The Right One In.

Robert 
Words to ponder “…if [Hopper] were a better painter, he would, most likely, not be so superior an artist.” Clement Greenberg

Much classier way of “copying” than the constant recycling of tracing paper/animation patterns (and subsequent auto-plagiarizing) you find in Disney movies, so that they can make their movies faster and cheaper: 

ttyan
September 2, 2010
Remember Krzysztof Kieślowski’s “Blue” and “Red”? That’s the idea. Two persons, a composer and a beggar, produced the same tune in different places at different time. A poster happens to be a real-life caption. I love coincidence!
-
-

Sunday, 31 October 2010

Matisse

This post was originally written on 11th May, 2010.

BBC is currently running a series called "Modern Masters", presented and narrated by the enthusiastic art journalist Alastair Sooke. The first episode was on Andy Warhol, whose life story, repeated so many times in the media, is more than familiar to many people.

The second episode is on the French artist Henri Matisse. Towards the end of the show, when introducing Matisse’s late work, three sets of stained glass windows in the Chapelle du Rosaire de Vence, Sooke is moved to tears. The footage of the frail Matisse working is indeed very touching. Apart from this great piece of work, I am also happy to learn more about Matisse’s “Odalisque” paintings. According to the OED, an ‘odalisque’ is:
A female slave or concubine in a harem, esp. in the seraglio of the Sultan of Turkey (now hist.). In extended use: an exotic, sexually attractive woman; a representation of a sexually attractive figure in art.
Of the paintings on this subject, I find “Odalisque with Red Culottes” (which is in Musée Nazional d’Art Modern now — one of the museums in Paris we visited in November 2008 when we spent a weekend in that city) particularly alluring: the bold creases of the sitter’s panties are suggestive of the folds of the body part underneath. The woman is ‘waiting for sex or relaxing after it’ (says Sooke):

Odalisque with Red Culottes
The show reminded me of Matisse’s great talent — he’s a true modern master who continues to live in contemporary imagination through his artwork. Think, for example, Ikea, Miffy, Apple’s iPod advertising and the YSL Opium perfume ad (see below). We saw "The Snail" (1953), which Matisse created almost at the end of his life (he died in 1954), in Tate Modern last year. Now I want to see it again. The impact of seeing the genuine article before me, to this date, is still quite indescribable.

As promised, below is the YSL Opium Perfume ad featuring Sophie Dahl, the granddaughter of children’s author Roald Dahl. It is said that the concept and design of the ad has been inspired by Matisse’s exuberant “Odalisque” paintings. Of course, the model’s ghostly pale torso is nothing like the generally exotic tan-ness of Matisse’s sitters, but the provocativeness is similar, if not more:

http://www.sophie-dahl.com/

-

Related Posts Plugin for WordPress, Blogger...