Grayson Perry at the Serpentine Gallery review ****

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Grayson Perry: The Most Popular Art Exhibition Ever!

Serpentine Gallery, 8th August 2017

Grayson Perry has set himself up as an “astute commentator on contemporary society” as the blurb for his current exhibition would have it. And very good at it he is too. If you haven’t seen any of his Channel 4 documentaries which explore individual and collective identity then you should. He and his films are full of surprises.

These subjects are explored in this exhibition, together with the nature of “popular” contemporary art. Whilst I admire the man, the few pieces of his art that I had seenup to now (a couple of the pots and some drawings) have underwhelmed. Not here though. Context clearly is all.

The first room has a few good laughs with its ceramics exploring the role of the contemporary artist. In particular “Puff Piece” which contains quotes that Mr P has attributed to art critics about his work tickled me. But this is hardly ground-breaking. Though the fact that Mr P is way more visible than most contemporary artists, and chooses to engage with many different people and record the results, makes his art more stimulating in my book. I was a little less interested in the room of works which were produced in conjunction with a recent TV series, All Man, which explores masculinity in contemporary Britain. The documentaries are fascinating but the objects, a skateboard, bicycle, motorbike, shrine, which have been “feminised” and “infantilised”, don’t really do much for me. There is some admiration in the craft and they have a charm but that’s it for me.

The main gallery however is way more interesting. Here we have the pair of pots that Mr P produced for another recent documentary, Divided Britain, which pictorialise social media comments and images from groups of ardent Leave (from Boston, Lincs) and Remain (Hackney) voters in last year’s Referendum. As Mr P observes what is striking is the commonality not the differences. The two tapestries in this room, Battle of Britain and Red Carpet, are marvellous. Battle of Britain, with its allusions to Paul Nash, takes an imagined landscape in his native Essex and overlays symbols of contemporary Britain. Red Carpet uses an imagined map of Britain to relate key social media words and phrases around a theme of Us and Them.

Further on we see another beautifully crated tapestry, Death of a Working Hero, redolent of the trade union banners paraded at the annual Durham Miners Gala ,full again of striking details. Animal Spirit is a fine wood-cut depicting a bear of sorts and other symbols derived from financial markets. I would also point out the folk art “bronzes” King of Nowhere and Our Mother in the larger rooms.

Now to be fair none of this is new territory for Mr P, nor is any of this particularly subtle. And the criterati love having a pop at Mr P on exactly these grounds. It seems his artistic output is sullied in their eyes precisely because he courts recognition and uses this as the platform to explore his chosen. I say good on him. And judging by the attention being devoted to the works by a range of visitors it works. My favourite arse about face argument was in the Telegraph review of this exhibition which argued that Mr P’s TV stints have no “real bearing on Perry’s value as an artist”!! Of course it does. This daft statement lays bare the dilemma of the “proper” artist and the symbiotic critic since the dawn of Modernism. I don’t want the uncultured hoi-polloi to know what I am doing or why I am doing it but I get really wound up if I am completely ignored and can’t sell.

Britain does appear to be fractured by a cultural schism between the “outward-looking, university educated, metropolitan, liberal, tolerant” half (maybe a little less) and the “rooted, inward-looking, threatened, conservative” half (maybe a little more). Or is this complete b*llocks and just lazy stereotyping? Are our politicians pandering to these stereotypes? How best to facilitate the debate around issues of national and personal identity? These seem to me to be vital questions for an artist to explore, and Mr P, albeit that he sometimes uses tools that do not go far beyond the novelty however well made, should be commended for the playful and intelligent way he sets about his task. And he is sufficiently self-aware not to be in any danger of disappearing up his own arsehole in the manner of much contemporary art whose “social criticism” is either desperately banal or so well hidden as to be meaningless.

This exhibition runs through until 10th September before shooting off to the Arnolfini in Bristol. Ignore the critics. Take a look. Plenty of other people are. Turns out as contemporary art goes (and I mean contemporary not the canonic art sanctioned in artistic old age or posthumously) it is pretty popular.

Giacometti at Tate Modern review ****

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Giacometti

Tate Modern, 5th July 2017

Alberto Giacometti fitted the bill of the artist perfectly. Day upon day, month upon month, year upon year ploughing the same furrow. To capture the essence of the human form largely through sculpture and occasionally with paint. More than a nod to the representation of the human form in Ancient Egypt, the Etruscan world and in African culture, with the same relentless elongation. A recognition that, after the horror of WW2, another way of looking at humanity was needed.

A limited number of models (dad, wife, brother, mistress, a few other patrons/luminaries and, for me anyway, himself, indirectly if not directly). And brother and wife looking after all the wordly stuff.

You can see the constant reworking in the works before eventually they could be cast, if required, in bronze. Apparently he was never satisfied. Now for some this might come over as all a bit cliched. But the simple fact is it is impossible not to be drawn into his world. The early p*ssing around with other artistic movements is tossed aside. Thereafter the character of his models, at least in the more substantial busts, becomes clearer and clearer. The structure and basis of human forward movement is revealed in the “walking men”. All through, the “eyes” literally have it. You think you know Giacometti’s work and ideas. But this still pulls you up in places. 

Room 1 kicks things off in style with a host of tightly packed heads of different materials and arranged broadly chronologically. It is easy to see Giacometti’s early experimentation with, for example, cubism but it is even easier to the end to which he was inevitably going to be drawn. Room 2 also shows how he flirted with other more abstract and surrealist solutions to capturing the human form. These works are interesting but not really convincing – the surrealists (a generally bitchy bunch anyway) apparently got on his case for being too naturalistically inclined. Room 3 shows his flair for decoration but it is only in Room 4 that we get a taste of the larger scale works that were to follow. There are some cracking pieces here, some very disturbing if I am honest. Room 5 shows AG’s fascination with the very small scale. In Room 6 we see the “classic” AG forms, in groups, or “penned” in some way. Room 7 brings together 8 of the 9 the Women of Venice series AG created for the 1956 Biennale and they really are fascinating (to me and judging by the stares most of the other punters as well). Rooms 8, 9 and 10 give us paint as well as walkers and the best of the heads of the people he clearly loved. And a film with AG doing his full on artist shtick, little garretty studio (Left Bank – where else?), buckets of espressos, fag dangling, mess all the place, plaster splattered jacket. The works. But his eye connects to the eye of the journo who is acting as his model and voice-over and then you absolutely get what Giacometti was about.

So a terrific exhibition of the work of, for me, a terrific artist. But I am partial as AG for me fulfils in spades two of my favourite artistic traits. The power of repetition. And the gift of emotional connection. Anyway it’s on through to September so see for yourself.

British Watercolour Landscapes at the British Museum review ****

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Places of the Mind: British Watercolour Landscapes 1850 to 1950

British Museum, 3rd July 2017

Any right thinking Londoner or visitor thereto knows that time spent in the British Museum (or the V and A for that matter) is never wasted. I have remarked before on the rich run of larger scale exhibitions that the British Museum has delivered in the last couple of years (The American Dream at the British Museum review ****) and this small but very satisfying collection of watercolours keeps up the tradition.

it does exactly what it says on the packet assembling top draw, and maybe a few lesser names, from its own collections to chart the path from precise Victorian realism to post war abstraction. Watercolour is obviously an immediately attractive medium but this also offers up plenty of technical surprise and interest as well. And there are some records of adventures abroad mixed in with the iconic British locations.

Best of the bunch. Mackintosh. Nash John and Paul. Ravilious, Whistler, Sargeant, Steer, Sutherland, Minton. But honestly I was even captivated by the Pre-Raphaelites who normally make me gag.

So take a trip up to the 4th floor (Room 90) away from the crowds and breathe this in. Cost to you – nothing at all.

And joy of joys on the way in you will see the Leonardo cartoon. And if you have time head up to the Japan galleries (92 to 94)  – always a joy – or down to the Clocks and Watches (38 and 39). Best of all Rooms 40 and 41, pound for pound the best collection of Medieval and earlier European bits and bobs anywhere. Oh except maybe the V and A.

 

Vanessa Bell exhibition at Dulwich Picture Gallery review ***

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Vanessa Bell 1879-1941

Dulwich Picture Gallery, 3rd June 2017

Sun shining. Dulwich Park at play. Bit of a picnic then off to the Vanessa Bell retrospective with SO, BUD and KCK. This is London. It won’t go away.

Dulwich PG does a fine job in bringing together thoughtfully curated exhibitions of the non-blockbuster names in a concentrated way. Nothing to frighten the horses but not too stuffy either. And the location is always worth the journey. In the last couple of years I have enjoyed exploring the work of artists as diverse as Nikolai Astrup with his bold Norwegian landscapes, the under-appreciated Winifred Knights, Eric Ravilious with his exacting eye and best of all MC Escher with his unique prints (so good I saw it again in the Hague). There have been some disappointments: the Adriaen van de Velde was the final proof that I just don’t get on with Golden Age Dutch landscapes.

This, broadly, was a success. I am not utterly convinced that the talents of the leading lights of the Bloomsbury Group were as considerable as they might have imagined. Their louche lifestyles (Bell was married to critic Clive Bell, was sister to Virginia Woolf, and had affairs with artists Roger Fry and Clive’s lover Duncan Grant) and absence of home-grown competition, might have secured them a more elevated place in British cultural history than is warranted. I am probably wrong on Virginia Woolf, the SO is the expert here, though interesting to note that Woolf herself envied her sister’s talent with paint, and certainly wrong on John Maynard Keynes, who applied his massive intellect, with self-evident success, to the world of Mammon rather than the Muses. I know it is a class warrior cliche to have a pop at this lot but generally I am not sure much of the painting that come out of the key BG figures was actually up to much.

Vanessa Bell though represents the best of the rum bunch however. This exhibition, apparently the first retrospective of this scale which surprises me, does highlight though that she never seemed to shake off the influences of her Continental peers, notably all those post-Impressionists. There are traces of German Expression here, a bit of van Gogh there, some Cezanne in the landscapes, Monet haystacks, Matisse dancers, some abstract experiments, a still life that is a dead ringer for her teacher Sargeant’s style. After a while however her voice does emerge and the whole does turn out to be more satisfying than the sum of the parts. The paint is tenderly applied and the colours, which are undeniably muddy throughout, do start to push out. The subjects, whether it be her toff mates, the lovely landscapes and houses she was fortunate enough to frequent, or the well composed still lifes, are undeniably attractive even if they don’t say much beyond that to me. I just can’t see the radical painter that others identify.

So all in all a very pleasant experience. I mean that in both a good way and a not so good way. This is the document of a privileged life seen through the art of a privileged woman. They are very pretty pictures but nothing that offered any new perspectives for me. Definitely worth viewing but only as a complement to other more challenging contemporaneous artistic output.

 

 

Howard Hodgkin at the National Portrait Gallery review ***

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Howard Hodgkin: Absent Friends

National Portrait Gallery, 18th May 2017

I haven’t really known what to make of the work of Howard Hodgkin who sadly passed away just before this exhibition began (having been involved in its creation). And I am still not sure what to make of it.

This was the first time I have seen a solo exhibition; previously I had only seen a few works in permanent collections. Now clearly it is impossible, at least for me, not to bowled over by the vibrant colours that he employed in his work and by the exuberance of the mark making. On the other hand I cannot say that I get any great reaction beyond this.

This exhibition focusses on his portraiture. This was largely done from memory and Hodgkin was always trying to capture the essence of the person or persons he was painting – the memory if you like. This means that his portraits became ever more abstract through his career, such that, by the end of his life, just a couple of broad brush strokes might suffice to capture the emotional core of his subject.

The problem for me is that as an observer I have no knowledge of these subjects (many of whom were fellow artists or collectors) and so cannot relate to the essence he has focussed on. So I am then just left with the colour and the patterns which, in some, though not all cases, are extraordinarily bold, vivid and certainly uplifting, with beautiful paint, but, unfortunately, offer me nothing beyond that. With more figurative portraiture, though not mimetic, I am able to see and examine the subject in a way that Hodgkin’s work precludes.

So definitely worth a good look and I have learnt far more about this important, though taciturn, British painter of the last few decades, but I am not sure he is an artist I will seek out in future visits unlike some of his contemporaries. Though as with other vivid colourists, there is no doubt that a good stare at their work makes subsequent real world colour burst into life, at least for a few hours. Be happy.

Some ideas for the culturally inclined in London

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Here is a very brief round-up, (apparently I can drone on a bit so have tried to be disciplined), of the current and forthcoming major theatre and exhibition events in London that have caught my eye (and ear). I have a list of classical concerts which is still good to go for those that way inclined (Some forthcoming classical music concert ideas (with a bit of nostalgia thrown in) and will take a look at the best of the forthcoming seasons at the two major opera houses in another post.

No particular order and not at all obscure. There should be tickets available for all of these but in some cases you may need to get your finger out.

Hope this helps if, unlike me, you are not over endowed with time.

Theatre

I can vouch for the first four below and the rest are those which I think are likely to be the most likely to turn into “must-sees”.

  • Hamlet – Harold Pinter Theatre – June to September 2017

If you think Shakespeare is not for you then think again. Andrew Scott as our eponymous prince could be chatting to you in the pub it is that easy to follow (mind you, you’d think he was a bit of a nutter) and Robert Icke’s direction is revelatory. Plenty of tickets and whilst it’s not cheap they aren’t gouging your eyes out compared to other West End shows. Here’s what I thought.

Hamlet at the Almeida review *****

  • The Ferryman – Gielgud Theatre – June to October 2017

This will almost certainly be the best play of 2017 and will be an oft revived classic. It is better than writer Jez Butterworth’s previous masterpiece, Jerusalem. Prices are steep but the Gielgud is a theatre where the cheap seats are tolerable. If you see one play this year make this it.

The Ferryman at the Royal Court Theatre review *****

  • Babette’s Feast – Print Room Coronet – to early June 2017

There are a couple of weeks left on this. Probably helps if you know the film or book. I was enchanted though proper reviews less so. Loads of tickets, cheap as chips, not demanding at all, lovely venue.

Babette’s Feast at the Print Room Coronet review ****

  • Othello – Wilton’s Music Hall – to early June 2017

Again just a couple of weeks left here. Once again perfect Shakespeare for those who don’t think it is for them. Big Will’s best play and an outstandingly dynamic production. Another atmospheric venue, though I would say get right up close. A bargain for this much class.

Othello at Wilton’s Music Hall review ****

  • The Tempest – Barbican Theatre – July and August 2017

This is the RSC transfer from Stratford. Simon Russell Beale, our best stage actor, as Prospero. Some fancy dan technology is employed. Reviews generally positive though you always get sniffiness from broadsheets whenever RSC plays a bit fast and loose with big Will. Not cheap but at least at the Barbican you will be comfy (if you don’t go too cheap).

  • Macbeth – Barbican Theatre – 5th to 8th October 2017

More bloody Shakespeare. Literally. On this you are going to have to trust me. Ninagawa is a Japanese theatre company renowned for its revelatory productions. So in Japanese with surtitles. But when these top class international companies come to the Barbican it is usually off the scale awesome. I’ve been waiting years to see them. Enough tickets left at £50 quid a pop but it will sell out I think.

  • The Suppliant Women – Young Vic – 13th to 25th November 2017

Reviews when this was shown at Royal Lyceum in Edinburgh were very good. Aeschylus, so one of them Greeks, updated to shed light on the refugee crisis. Maybe not everyone’s cup of tea, and you can probably wait until closer to opening, but I still think this will turn into a must see.

  • Ink – Almeida Theatre – June to August 2017

Writer James Graham’s last major outing, This House, about politics in 1970s Britain, was hilarious and insightful. This is based on the early life of Rupert Murdoch so expect a similar skewering. Directed by Almeida’s own Rupert Goold with Bertie Carvel the lead (the sh*t of a husband in that Doctor Foster off the telly). I have very high hopes for this,

  • Against – Almeida Theatre – August and September 2017

New play which sounds like it is about some crazy US billionaire taking over the world (I could be hopelessly wrong as Almeida doesn’t tell you much). Written by American wunderkind Chris Shin, directed by master of clarity Ian Rickson, and with Ben Wishaw in the lead. Don’t know how much availability as public booking only opens 25th May, but I would get in quick here and buy blind. Almeida now a lot comfier with the padded seats and still a bargain for what is normally world class theatre.

  • Prism – Hampstead Theatre – September and October 2017

New play from the marvellous Terry Johnson who writes brainy comedy Robert Lindsay in the lead role of a retired cinematographer. I have a feeling there will be more to this than meets the eye (!!) and will buy blind on the public booking opening. Usually around £30 a ticket so if it turns into a hit, as Hampstead productions sometimes do, it is a bargain.

  • Young Marx – The Bridge Theatre – October to December 2017

So this is the opener from the team at the Bridge which is the first large scale commercial theatre to be opened in London for decades. The genius Nick Hytner directs and the play is written by Richard Bean and Clive Coleman. The last time these three came together out popped One Man, Two Guvnors. Rory Kinnear and Oliver Chris (trust me you will know him off the telly) play the young Marx and Engels in London. Hard to think of a set up that could get me more excited but if any part appeals to you I would book now. There are loads of performances so no urgency but, if they have any sense at all, the seats here will be v. comfy with good views as it is all brand new, so taking a punt on a cheap seat will probably turn out well.

  • Julius Caesar – The Bridge Theatre – January to April 2018

Bridge again. Julius Caesar so probably need to know what you are letting yourself in for as solus Roman Shakespeare’s can sometimes frustrate. BUT with David Morrissey, Ben Wishaw, David Calder and Michelle Fairley, it is a super heavyweight cast. Same logic as above – it might be worth booking early and nabbing a cheap seat on the assumption they would be mad not to serve up the best auditorium in London if the venture is to succeed.

  • The Retreat – Park Theatre – November 2017

The Park often puts on stuff that sounds way better than it actually turns out to be, but this looks the pick of its forthcoming intriguing bunch. Written by Sam Bain (Peep Show and Fresh Meat) and directed by Kathy Burke. Comedy about a City high flyer who gives it all up but can’t escape the past. If anything is guaranteed to wheel in the North London 40 and 50 somethings then this is it. No cast announcement yet but I bet they rope some comic into the lead.

  • The Real Thing – The Rose Theatre Kingston – 2nd to 14th October

A co-production with Theatre Royal Bath and Cambridge Arts Theatre of one of Stoppard’s greatest plays. I really want this to be a cracking revival for my local.

Exhibitions

Here is the pick of the forthcoming blockbusters which I hope to get to see. The Jasper Johns and the Cezanne Portraits are the ones I am most excited about.

  • Giacometti – Tate Modern – just opened until 10th September 2017
  • Pink Floyd: Their Mortal Remains – V and A – until 1st October 2017
  • Into the Unknown: A Journey Through Science Fiction – Barbican Art Gallery – from 3rd June 2017
  • Grayson Perry: The Most Popular Art Exhibition Ever! – Serpentine Gallery – from 8th June 2017
  • Jasper Johns: Something Resembling Truth – Royal Academy – from 23rd September 2017
  • Opera: Passion, Power and Politics – V and A – from 30th September 2017
  • Cezanne Portraits – National Portrait Gallery – from 26th October 2017
  • Monochrome: Painting in Black and White – National Gallery – from 30th October 2017
  • Impressionists in London – Tate Britain – from 2nd November 2017
  • Red Star Over Russia – Tate Modern – from 8th November 2017
  • Modigliani – Tate Modern – from 23rd November 2017

 

 

David Hockney at Tate Britain review ****

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David Hockney

Tate Britain, 2nd May 2017

OK so this is embarrassing so I will get it out of the way. I didn’t really know David Hockey’s works beyond a cursory glance at a handful of works in permanent collections and some mixed exhibitions and didn’t really know what all the fuss was about (this remember is about as popular an exhibition as TB has ever staged I gather). The idea that his fascination with new “ways of seeing” was somehow interesting or insightful felt like a bit of hype to me. I went it to this therefore expecting to be underwhelmed and finally to be able to write a review that wasn’t sycophantly gushing as is my wont.

Well I was wrong. When he wants to be this fella’s a marvel (though by no means consistently). So if there is anyone out there who didn’t know that (or was I the only one), I recommend you get along to this in the next three weeks before it closes.

So what turned me on? Well not all the scruffy early stuff though I can see its provocations. Not the first phase of LA swimming pool stuff – this is great yes (especially the buildings) but closer exposure didn’t bring to that WTF moment I look for in art. And not the IPad musings at the end. But the so flat, still, alienating double portraits, the room of amazing drawings, a few of the collaged photos and then the Wolds paintings, those paintings, and I was bowled over. I didn’t leave anything like enough time for those Wolds multiple canvasses so I will have to go back. It is like Van Gogh suddenly got serious with colour and that you are racing towards the vanishing point. So new ways of seeing – I get it now. And acrylic paint – no room for error – and the pure skill of the simplest drawings. There is still some pointless nonsense but this can be forgiven.