Before, During and ‘Afterimage’ – a review of Sarah Sze exhibition at Victoria Miro Gallery, London.

Sarah Sze, Afterimage review Victoria Miro London, Stuart Bush Studio Blog
Sarah SzeAfterimage, Yellow Blow Out (Painting in its Archive), 2018Oil paint, acrylic paint, archival paper, UV stabilizers, adhesive, tape, ink and acrylic polymers, shellac, water-based primer on wood© Sarah SzeCourtesy the artist and Victoria Miro, London/Venice
Sarah Sze is well known for her sculptures of large-scale installations. When l walked into the exhibition I was immediately meet by the flood of ideas. Sarah stimulating installations take the detritus from the frame, and her work appears to explode as if trying to escape.  She instinctively relies on her painter’s instincts, as ‘Afterimage’ takes a closer look at the artist’s working practices as she looks at the relationships between objects in space and the contradictions between them.
 
Sarah Sze international art career started in the 1990s. In 2003 she won the won the MacArthur Fellowship. In 2013 she represented the USA at the at the Venice Biennale. She has exhibitions in many countries and her work is in many museum collections around the world.
Sarah Sze, Afterimage exhibtition, Victoria Miro London, Stuart Bush Studio blog
Installation view, Sarah Sze: AfterimageVictoria Miro, 16 Wharf Road, London N1 7RW© Sarah SzeCourtesy the artist and Victoria Miro, London/Venice
The exhibition starts with her two-dimension work. These images are laid out like a collage on the wall. Everyday items from roughly torn images, photographs, string, sketches and more overlap. They are taped and stuck together as they continue to generate new thoughts and ideas.  They gradually accumulate to turn the collage into part of the canvas.  The paintings start with no definite beginning or end.  They form a vast assemblage of content allowing thoughts to take off in many different directions at the same time. 
 
One of the most intriguing parts of the exhibition for me is the presence of time and space. I realised the artist must have added to her works while in the room. This is engaging and stimulating.  I felt like I was able to explore Sarah’s train of thought before, during and after the work was created.  Sarah is communicating and documenting how we live in the present moment, how we are meant to focus on the present, but our thoughts are often elsewhere.
Sarah Sze exhibition review, Victoria Miro, London, Stuart Bush Studio Blog
Sarah SzeImages in Debris, 2018 Installation view, Victoria Miro, 16 Wharf Road, London N1 7RW© Sarah Sze Courtesy the artist and Victoria Miro, London/Venice
I found the contradictions in Sarah’s work absorbing. Not only do they show how time continues forward and backwards with videos, plants growing and decaying but also the presence and absence of form in the construction.  As I interrupted the video projectors on the walls, I saw myself in the mirror and my silhouette appeared on the wall.  However, Sarah is not interested in the objects themselves; her interest lies in the relationship between elements and what they say about us. She is showing us evidence, evidence of humanity’s impact.  Giving an overall feeling of a laboratory where you are the witness. It reminds me of what Picasso once said, “Art is the lie that reveals the truth.”
 
In Sarah’s artwork, the individual objects have no value. However, Sarah creates value in the way the collage, painting and sculpture come together and the way the items are treated and placed. The physical relationship to the objects is familiar but this intimate experience of development and demise, in time and space, is encouraging us to reconsider everything again.
Sarah Sze Afterimage exhibition review, Victoria Miro, London, StuartBushStudioBlog
Sarah Sze Images in Debris, 2018 (detail) © Sarah Sze Courtesy the artist and Victoria Miro, London/Venice
I found the exhibition very revealing about Sarah’s working practices. The exhibition asks questions about what we experienced before we arrived, what have experienced during the show and how this will change what we will see after we leave. The show left me thinking about the human race as a species and what evidence we are really leaving behind. I thoroughly recommend a trip to Victoria Miro to take a look.

External links to the Sarah Sze ‘Afterimage’ exhibition;

 

Hodgkin says goodbye to absent friends – Howard Hodgkin exhibition review at the National Portrait Galley in London

Portrait of the Artist Listening to Music by Howard Hodgkin, 2011-2016, Courtesy Gagosian © Howard Hodgkin Portrait of the artist by Miriam Perez. Courtesy Gagosian.

Ever since I was interested in art, I have always seen Howard Hodgkin as one of my artists whose work resonates strongly with me. In this review of Howard Hodgkin’s Absent Friends exhibition at the National Portrait Gallery, I want to explore, understand and put into words (if that is possible) what it is about Hodgkin’s paintings that have managed to turn mere paintings into objects of contemplation and hold my curiosity for so many years.  At the same time say goodbye to another great artist; Howard Hodgkin died on 9th March 2017, two weeks before this show opened.

 

Howard Hodgkin was born in 1932.  He studied at Camberwell School of Art between 1949-50 and Bath Academy of Art between 1950-1954.  In 1985 Hodgkin won the Turner Prize and represented Britain at the Venice Biennale.  Since then he has gone on to exhibit across the world and has his work is in many private and public collections.

Mrs Nicholas Monro by Howard Hodgkin, 1966 – 1969, Private Collection, London © Howard Hodgkin

The art I expect to see at the portrait gallery normally refers to an anatomical likeness of a person in the traditions of pictorial realism.  However, in this show, the paintings are titled as portraits that capture a memory of a person and a moment as a dematerialised idea imprinted on the mind.  They are described by Hodgkin as ‘representational pictures of emotional situations’.  The paintings capture realism as a complete expression of individuality, of both the artist and what he sees.  Paint and colour refashion the world as he sees it.  Hodgkin sees more than an individual likeness; he sees how the light falls to create abstract forms of intense emotion.  He paints his thoughts from memory with swirls and splashes as a response to the flux of the world.  The paintings are like a recording that captures a feeling, that took place between him and the person in the title.

 

Hodgkin once said, “Painting is like putting a message into a bottle and flinging it into the sea,” Observer article, 2001.   Howard Hodgkin believed his paintings talk for themselves and often was reluctant to discuss the meaning behind his work.  He was always happy for the viewer to see and interpret what they like from his deeply cherished moments.  

Waking up in Naples by Howard Hodgkin, 1980 – 1984, Private Collection, London © Howard Hodgkin

The paintings are more like artefacts or an object rather than just paintings.  Hodgkin worked slowly producing a maximum of 10 paintings a year.  He laboured and agonised over them in an intense process, which is evident from the dates of the work and from listening to him discuss the torture he injured when painting.  His artistry clearly lies in making something that took years to look like it was made in a couple of hours.

 

“It’s very hard to keep all the things going on in a painting, the feeling, the emotion, the memory; they have to turn into something else. The problem really is making the painting stand up by itself.  The memory has to turn into a thing, into an object. And that is a very slow process for me.” Howard Hodgkin, BBC Radio 4, Desert Island Discs.

 

It was always clear to Hodgkin when a painting was finished and complete, as it captured his original idea that triggered the picture.  He painted on used blackboards, kitchen worktop and old picture frames rather than canvas.  He liked pieces of wood that already had an identity and a life.  When walking through the chronological hung exhibition, it is evident to see how Hodgkin developed a confidence with colour through his career.  Each painting has a strong, unique, distinctive character of swirls, curves, dots and lines in vibrant pigment, a collision of pattern and forms.

The Spectator by Howard Hodgkin, 1984-87, Michael P. Green © Howard Hodgkin

The painting that sums up Hodgkin’s painting practice for me is ‘Mrs K’, 1966-7. It is a portrait of Jane Kasmin.  It reminds me of being in a dark room as someone enters from the far end through a closed door.  The sun floods into the dark room, and a bold form of a figure interrupts the light, as you adjust your eyes.  The painting opens up heartfelt sentiments of solitude and vulnerability.   The painting challenges your visual psychological space, it encourages you to learn something new about the world about what realism could be or should be.  In my eyes, the painting is a more accurate and truthful interpretation of human perception than traditional pictorial realism.  

 

The impressive show with many well-lit rooms of high-quality work was a pleasure to visit.   The exhibition delves deep into Hodgkin’s practice of painting, asking questions about our human construction of reality in this seemly meaningless world.  Every single one of the paintings in this show feels like a battleground between the artist, materiality and reality.  They are an expression of individuality of the artist and its subject; they are self-portraits of the artist and subject portraits wrapped up in one.    Hodgkin created paintings that outlast the subject and the artist himself.  A makeover of the world in paint, with the paint being the carrier of vibrant and radiant feelings. It is a joyful farewell to an outstanding artist.

Portrait of the artist by Howard Hodgkin, 1984-87, Private Collection © Howard Hodgkin

 

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Re-evaluating our relationship to space – Richard Wilson, Stealing Space, exhibition review

©Richard Wilson Block of Dering (2017) wood 353 x 250 x 268 cm Stealing Space exhibition

 

When l saw an image of the installation of Richard’s show l was intrigued and decided to visit.   Richard Wilson, the Turner Prize-nominated artist, has been exhibiting for 35 years and has won universal critical acclaim.  In this review of his exhibition ‘Stealing Spaces’ at the Annely Juda Fine Art gallery in London l was interested in how he uses different materials and ideas to draw attention to our relationship with space.   His work titled, ‘20:50‘ (1987) is an installation of oil in a room up to waist height and helped draw attention to his practice which uses methods of engineering combined with his interest in architecture. 
 
This quote from ‘Richard Wilson’ by Simon Morrissey, Tate Publishing 2005, page 7, gives us an insight to his way of thinking.
 
“I need that initial thing from the real world because I’ve always been concerned with the way you alter someone’s perception, knock their view of kilter.  And to do that I need to start with something we think we understand.”
 
This idea that you can ‘alter someone’s perception’ is something I can completely relate to and try to achieve in my own work and is the reason I find Richard’s work fascinating.  In his work Richard encourages the viewer to reconsider and re-evaluate common spaces, thereby opening up a very rich and productive exploration of physical space.
 
I believe that Richard’s work shows the importance of the artist’s role in finding a humble idea that has previously been overlooked, and make it into art by develop it into a life-long practice, elevating it up to something purposeful and meaningful and thereby adding wonder. 

 

©Richard Wilson Stealing Space exhibition all rights are with the artist
When I first saw the two large sculptures made from familiar materials squeezed into the white rooms they made me wonder how he achieved the aim of getting those big structures up the stairs.   When viewing, Space Between the Landing and the Gallery (2017) plywood on wood and metal, 310 x 740 x 101 cm, my attention is drawn to what I took for granted when I walked up the four flights of stairs moments ago.  While viewing the installation I wanted to re-consider my short journey up the stairs.  I did not notice the interesting details from the stair banister and steps, the significance of the space created and my relationship to these spaces.  My thoughts lead me to contemplate, Marcel Duchamp’s, ‘Nude Descending a Staircase No. 2 (1912) oil on canvas, in a new way.  I thought how a person moves through space and they ascend and descend stairs and I found this interplay of connections and ideas intriguing.

 

Nude Descending a Staircase, No.2, 1912 – ©Marcel Duchamp – All rights belong with the artist
I can see why Richard makes a minimum of 3 sketches a day as I found his small framed drawings compelling and it is clearly the primary foundation of his ideas and practice. If I had one criticism of the exhibition, it would be that I would have loved to see the original sketchbook drawings to discover how Richard’s ideas started and progressed rather than just the finished sketches and finished installation.  I would have been very interested in understanding how he developed his ideas and this would have taken this exhibition to another level.  
 
The installations, models and drawings in the show made me take another look at the external and internal space, the positive and negative space, and to reconsider my memories and experience of moving through space.  This exhibition of Richard Wilson’s work has forced me to reassess architecture’s relationship and my response to space.  I realised I am overlooking the beauty of the familiar, the layers of meaning as I walk through a space and the resulting memories of the journeys I take. The exhibition, as a result, was one of surprise and delight and I walked away feeling I had learnt a great deal about using and understanding art and space.
 

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Colour is for squares – Exhibition review of Josef Albers, ‘Sunny side up’

©Stuart Bush, When it is advisable to be wrong, oil on board 45.7 x 60.1 cm – £1000 + shipping enquiry

Through painterly questions of scale, content, colour and form I’m interested in expressing physical and emotional vigour of the human body in the city. I often work with and against the silhouette of the figure in the city.  I capture the ephemeral with assertive gestures inspired by poetry and music.   My process draws attention to the edge of things, to what is already there.  I look to create a visual poetry with energy and motion arrested in space by simultaneously hiding and revealing our world to us and focusing on the void in between the things.

Exhibition Review

Color study, n.d.
Oil on paper
11 1/4 x 4 7/8 inches (28.6 x 12.4 cm)
© 2017 The Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York. Courtesy David Zwirner, New York/London.

Josef Albers is known for his Homage to the Square.  He uses a series of variations of the square that illustrated how colours affect each other. His book titled, ‘The Interaction of the Colour,’ is a studio course for teaching and studying what happens between colours.   Josef Albers was born in Bottrop in Germany in 1888 and died in New Haven, USA in 1976.  He taught at the Bauhaus and at Yale.  I came to the exhibition of Josef Albers’s work at David Zwirner in London and was looking forward to seeing more of his work and hoping to develop a further understanding of Albers basis modernist theory of colour.

 

The show spread across 2 floors, contains just over 30 artworks. The title of the show ‘Sunny Side Up’ gives you positive expectations of an uplifting experience.  There is plenty of space to view each small artwork, and they are certainly is uplifting especially because, on the day I went, there was a protest march against Donald Trump going at the end of the street on the drab wintry day.

The interaction of colour iPad app 

I was surprised to find lines that were clearly crafted by hand and sometimes the areas of colour show the marks from the palette knife that was used to create them.  The paintings are studies which show that perfectionism is not significant to Albers.  The little colour swatches on card, with writing on them, show Alber’s thought processes like a sketchbook of ideas where he worked out what he was thinking. 

 

I expected the flat plains of colour in the artwork to feel empty. However, the squares are like little doors into another world, the world of the sublime. I felt I was being pulled into the squares and into a deep abyss of sunshine.

Color study for Homage to the Square, n.d.
Oil and graphite on blotting paper
13 x 13 x 1 1/4 inches (33 x 33 x 3.2 cm)
© 2017 The Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York. Courtesy David Zwirner, New York/London.

This exhibition acknowledges the importance of Josef Albers and the contribution he has made to the timeline of art and colour education.  The man-made squares of different sizes of yellow, orange and gold make you think more deeply about colour and help develop a deeper appreciation of abstract art.   My experience with the show was stronger because of the gloomy weather outside and contributed to increasing my enthusiasm to continue learning about the uses of colour in my work.  There are is so many variables that can affect the impact of the square of colour and Albers is clearly the master, as Albers says, “If one says ‘red’ and there are 50 people listening it can be expected that there will be 50 reds in their minds. And one can be sure that all these reds will be very different.”

Color study, n.d.
Oil on paper
11 1/4 x 4 7/8 inches (28.6 x 12.4 cm)
© 2017 The Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York. Courtesy David Zwirner, New York/London.

 

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Abstract Expressionism at the Royal Academy

Laura Owens at Sadie Coles London

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Laura Owens exhibition review

Laura Owen’s exhibition at Sadie Coles HQ in London gives a broad overview of her current work. In her paintings, she uses a range of digitally created images and painted marks in abstract compositions. Laura Owens was born in 1970 in Ohio, she began her art career in the 1990s, more recently she opened her LA studio as an exhibition space called 356 Mission in collaboration with the art dealer Gavin Brown.
Installation view, Laura Owens, Sadie Coles London. Copyright the artist, courtesy Sadie Coles HQ, London
 
I was curious to learn more about Laura Owens’s work after I read that Laura Hoptman, a Curator of Painting and Sculpture at MoMA in New York believes she is a Caposcuola, (the founder of an artistic movement) due to the way she ‘assimilates digital languages into painting’.  In this review I want to explore some of the ideas in her work, and consider her use of newspaper clippings, screen printed on canvas, cropped shapes with drop shadows and impasto mark, all combined into photoshop, and ask whether this is a worthy subject for painting?
 
Sadie Coles HQ offers an ample white space and second small second room for some of Laura’s notebooks.  The large exhibition space with its white walls is an excellent backdrop for the busy paintings. The gallery is well lit, and the show includes a lot of work.  If I had one criticism of this show, it would be that there is too much work to focus on.  Viewing the exhibition starts well, but there is a repetitiveness of painted digital imagery, and after twenty or so large canvass the show as a whole feels overwhelming.  I did wonder whether that was intended because it is so obvious.
 
I see Owen’s work as a way of creating a dialogue about the man-made visual world, and focusing on technology that turns everything into pixels and data.  A visible world where we can find new ways to tune in through our portable devices which are constantly changing.
 
The use of technology in paintings originated with Pop Art, from Warhol’s screen prints to Hamilton’s and Blake’s collages took art in a new direction.  Laura’s use of sources makes me think about Matisse’s cut-outs and his use of collage and the way a composition is composed of editing, refining and manipulating shapes.  Laura’s pictures appear to be predetermined on the computer before they arrive on the canvas including the painterly gestures such as washes, dabs and swipes.  I was curious whether there is a space for spontaneity in her process.
 
Owens method like Matisse, Hamilton’s and Blake’s is a form of semiotic play.  There is a decorative element where a shape is cut out and put into a composition creating a visual rhythm and visual language.  There is a laying of images on top of each other where the contrasting elements with particular colours and elements in space give the work a striking ambience.
 
The result is a play of tension and expansion to create dynamic pictures.  It is a system for thinking about shape and composition and expanding the possibility of what we visually consume, which I find it exciting and playful.  It is very visually engaging and brings up many questions about Laura’s reliance on printing techniques, where her ideas come from, and the freedom of viewer to make associations in a picture.  As a result her work is undeniably a commendable subject for painting.
 
However, I believe that Laura’s work would be stronger if seen smaller doses as there are too many elements in the exhibition as a whole.  I don’t feel the need to revisit the exhibition for repeated viewing as I do after seeing a Francis Bacon exhibition.  Maybe this is because the compositions appear to be predetermined on photoshop, but possibly it is more to do with the overwhelming number of paintings on view.
 
Laura has created a vehicle to show what she sees, the work in the show is undeniably a visual sensation. Her work asks new questions about the most important kinds of processes of expression.  One of the most interesting things about this exhibition and why I recommend seeing Laura Owen’s work is that it is a critique of abstraction and about seeing the things in between the obvious stuff.
 

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Abstract expressionism at the Royal Academy of Arts, London

Over the years of visiting art exhibitions, few exhibitions have had such an impact on me as the Abstract Expressionist exhibition did at the Royal Academy.  I was staggered by the amount of impressive and inspiring works.  The first few galleries are hung in chronological order, then the order in the galleries changes and the work is hung related to styles and approaches, some rooms have work by more than one artist.  This changing approach works well as it easy to understand the relationships and contexts between the works in each room.
 
In one of the largest rooms, I found two of David Smith’s sculptures and one of Jackson Pollock’s drip painting next to each other, it was a stimulating experience.  David Smith’s sculptures ‘Hudson River Landscape’ 1951 (welded painted steel and stainless steel), and his ‘Star Cage’ 1950,  (painted and brushed steel) sat opposite Jackson Pollocks’s drip painting ‘Summertime number 94’, 1948, (oil enamel and commercial paint).  What was so intriguing and absorbing was how the lines in the three different works were so alike.  Pollock’s dancing splats of paint over the surface were heightened and intensified by the Smith sculptures. I have always delighted in interesting and complex spatial compositions and having these works next to each emphasised their associations.   While Smith calls his work, ‘drawings in space’, Pollock presents his as ‘energy and motion made visible, memories arrested in space’.  This juxtaposition of two and three-dimensional space was enlivening, inspiring and delightful to experience.
 
Jackson Pollock, Blue poles (Number 11, 1952), 1952. Enamel and aluminium paint with glass on canvas, 212.1 x 488.9 cm. National Gallery of Australia, Canberra. © The Pollock-Krasner Foundation ARS, NY and DACS, London 2016;

 

David Smith, Star Cage, 1950. Painted and brushed steel, 114 x 130.2 x 65.4 cm. Lent by the Frederick R. Weisman Art Museum, University of Minnesota, Minneapolis. The John Rood Sculpture Collection. © Estate of David Smith/DACS, London/VAGA, New York 2016
David Smith, Star Cage, 1950. Painted and brushed steel, 114 x 130.2 x 65.4 cm. Lent by the Frederick R. Weisman Art Museum, University of Minnesota, Minneapolis. The John Rood Sculpture Collection. © Estate of David Smith/DACS, London/VAGA, New York 2016;

 

Later l found work by Frank Kline.  I always appreciate looking at Franz Kline’s work and this was the first time I had seen ‘Vawdavitch’ 1955 and ‘Andrus’ 1961, (both are oil on canvas).  The simplicity of the subtle change in the colours and the spatial harmony is very enjoyable.  I think Kline’s work has a strong relationship with poetry and music.  When I look at Kline’s work it always amazes me how ‘less is more’.  I always think of the Mies Van der Rohe quote when looking at reduced and distilled work where simplicity is beautiful.   It looks like Kline used a wide brush to create ‘Andrus’ 1961, he uses a few simple brush gestures in layers of mars black, cadmium orange, crimson, cerulean blue and deep purple mixed with different amounts of white.  The simplicity is intriguing and really sparked my imagination.
 
Franz Kline, Vawdavitch, 1955. Oil on canvas, 158.1 x 204.9 cm. Museum of Contemporary Art Chicago, Claire B. Zeisler 1976.39. © ARS, NY and DACS, London 2016. Photo: Joe Ziolkowski;
Franz Kline, Vawdavitch, 1955. Oil on canvas, 158.1 x 204.9 cm. Museum of Contemporary Art Chicago, Claire B. Zeisler 1976.39. © ARS, NY and DACS, London 2016. Photo: Joe Ziolkowski;
 
If I had a criticism of the exhibition it would be that you need more time to see everything, I found it challenging to select only a few pieces of works to discuss in this review as I really did feel blown away by seeing so much artwork of such a high standard.  After a couple of hours, l needed a break.   Having spent so much time with the works I have mentioned and looking at some of the pieces by other artists I felt guilty walking past further great pieces of work because I felt my eyes and brain needed a rest.  It would be great if you could revisit the exhibition on the same ticket on a different day.  I would happily go again.
 
If you would like to read more, there is an interesting review here on the Saturation Point site written by Paul Carey Kent, after visiting this show and the at the Museo Guggenheim, Bilbao: 3 Feb – 4 June 2017 and comparing the shows.
 

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