OCA Study Day Frieze Art Fair

11th October 2012

I don't know why I took so many photos, as Frieze is so vast and random that it is visually overwhelming. My system of snapping the notices beside work didn't really work, as my camera phone is a bit limited, and so the information and artist names are sadly lacking. However, I did particularly like a few things.

Paul Chan

Matt Braun?

Jim Lambie

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Aris Moore 

Jonas Wood

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Draped glass pieces in deep colours were beautiful and stunning - arresting time and motion.

Bedwyr Williams. Curator Cadaver Cake
This was hilarious and enjoyable, whilst also repulsive. Membesr of the audience could ask for bits of the body to be cut out, which they then ate.

 unlnown

 Magli Reus

Magli Reus

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There was something about the well placed elements of this floor sculpture which I really liked. Perfect positioning of  ordinary stuff making it meaningful.

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Always a good idea for houses.

Solid draped curtains.

Thiago Rocha Pitta

Heha Joksi. A matress balanced on vases of flowers. Ephemeral, changing, delicate.

Rachel Whitread

Juergen Teller.This photo is large. It is hilarious and uncomfortable. the man in bed is dead or dying, and the balloons are just so wrong!

there was a video showing artists wearing suits like these - sort of very low tech scifi.

Amidst the market place which is frieze, an idea. Balloons in a ladder.

Gorgeous and elegant. this trail of metal or aluminium. I have something a little like this at home.

Classic light-water experimental piece.

Sugar cubes with tiny holes and lights. A delicious set up.

Interesting again to go to this with a group of OCA students. All split up practically immediately, however met someone doing the drawing module - I think it takes alot of drive to embark on such a thing remotely - especially beginning, sketchbooks, etc. Also had a good talk with one of the MA tutors, Michelle Whiting:

http://www.oca-uk.com/info/michele-whiting

We were discussing the layout of stands and who was most effective. Haven't got a name or picture, but there was a stand, I think from Mexico, who featured one artist, and had several pieces on the wall to take home, large pieces for business spaces, and larger floor pieces you could see in a gallery. It gave the stand a coherence some of the others did not have, and really appealed to all types of collector. Good lesson in display.

Overall, there seemed to be less confrontational art at Frieze this year, and more pieces you could actually imagine living with. There was noticeably less video.

I don't really know why I ever go to Frieze. It's hideous and exhausting, and not a considered place to see what is happening in art, or even in the art market. Fun in a way, but I have never been drawn to crowds.

1st November 2012

Artists Newsletter Interface Reviews

I think it was because of doing all the different reviews for The Upcoming - exhibitions, millions of films, etc:

http://eleanormacfarlane.blogspot.co.uk/2012/07/the-upcoming.html

http://www.theupcoming.co.uk/author/eleanor-macfarlane/


I decided to write reviews for other exhibitions that I might go to and add them to the Artists Newsletter site:

http://www.a-n.co.uk/interface/reviewers/single/30438

It's a great way of processing thoughts about exhibitions, and dragging into consciousness feelings about art. Also, as it's for other artists, I can be more open than with other audiences, and refer to other artists, etc, without mediation.

Reviewing and assessing is very dependent upon the audience - I think the trick is to say what my true feelings are, but according to who might be reading, and what they might fairly be expected to know.

OCA Study Day Whitechapel Open

I thought I would see what it might be like to participate as a student at one of these OCA organised visits to a gallery. 13th September 2012

http://www.whitechapelgallery.org/exhibitions/the-london-open

We were given a piece to read beforehand, which basically criticises the curation of the exhibition for making the usual wild claims about mind boggling, earth shattering artists who are reframing our perception and starting new art movements which will alter the world. Fair comment, but hardly the intent of the artists.

http://www.guardian.co.uk/artanddesign/jonathanjonesblog/2012/jul/04/london-open-art-whitechapel-gallery

Most of the OCA group were quite new to the process of studying art. We were given a tour of the exhibition by a very young-looking curator. If anything, the experience reinforced by preference to look at art as unmediated as possible, to let my vision and instincts lead me, and to fill in any more information later, if required. However, it's always fascinating to see art with different eyes, and to hear the kind of questions the group asked - ans also their general resistance and cynicism about some forms of contemporary practice.

I visited the exhibition a few times some years ago when it was the Whitechapel Open. I remember some work from then, but actually doubt if current work will stay in my mind so much.

The piece which created the most debate was a video, with the artist Lucienne Cole recreating in a more everyday way a video of Marianne Faithful from the '60's. If you don't happen to know the original, then it really is just a woman wandering about a garden singing to bushes, and if it is really dependent on the reference, then that should really be included somewhere in the piece or its presentation. Otherwise, why should I, as a viewer, bother to find out, when there are a hundred other video artists knocking on the door.

Memorable pieces:

Martin John Callahan's International Directory of Fictitious Numbers, and his letter responses from world leaders to open, disengenous questions.

Also took the opportunity to see the piece by Giuseppe Penone, the hollow tree cast lined with gold.

http://www.whitechapelgallery.org/exhibitions/the-bloomberg-commission-giuseppe-penone-spazio-di-luce

Giuseppe Penone. Spazio di Luci (Space and Light). 2012

I had heard about this work and seen images. You can describe it and see exactly what it is, but you still want to go and see it for yourself. That must be the hallmark of art to strive for.

24th September 2012

Chelsea MA Show 2012

Overall, I was surprised, if not shocked, at the general lack of professionalism at Chelsea. Of course, there were some glorious exceptions, but I am so used to visiting exhibitions as an assessor or reviewer that I expect the basics of presentation to have been covered. Surely at an MA show we should see artists good-to-go, ready to exhibit. There was clear evidence of last minute rushing and artists having run out of time, or not completely thought through an idea.

It takes the overall show down if it is difficult to negotiate, and while I really loved getting the chance to wander round an unfamiliar art school, the signage and mapping was really poor and could have easily been made better, with route marking, or colouring. Serendipity is one thing, but I'm sure I didn't get round to everything, again, through lack of clarity.

The show is only open for a few days, and I went near lunchtime on Monday, so although it was sparsely attended, surely the whole idea is that curators, gallerists, fellow artists - all possible colleagues for the future, may just see your work and register it for projects or collaboration. I just can't understand why the artists seemed so blase that it was practically uninvigilated, and that about 80% of the video work was not on, and that there was at least one studio with multiple artists showing with locked doors. Perhaps they were told not to come in.

As for name-signage, cards and booklets, it was at the level of an unambitious degree show. So the tone is set. I love and appreciate an informal aesthetic - things do not have to be slick towards overproduced, but decisions have to be made and stuck to.

There's always someone who does shoes. isn't there? This time, a white painted studio and floor, with many white shoes, and some piles of white clothes further in. They slightly obstruct the entrance - but that's ok, so you step in to see. Only upon exiting do you notice the tiny, handwritten envelope stuck down at the entrance which asks you to remove your shoes, and which everyone else has also not noticed, as evidenced by the many other shoe prints, not just your own.

Finally to the work. It's interesting to refresh ideas of group shows, to avoid worst and borrow best practice. Firstly, artists work better in these environments when they edit away and don't show too much. One statement, one piece, is much better than work which looks like someone has failed to clear their studio. Cards with an image are good, of course - it's surprising that an artist would have one without, or not at all, and again, it's so cheap to produce simply these days that is seems incredible not to have a good quality card. Personally, I liked it when an artist had produced a small booklet about their work which was available, but discretely, and not part of the overall display.

Especially liked:

Lene Shepherd. Sculptures and video of revolving, mirrored complex shapes. I liked these alot- also reminded me of work I have made, so a particular response.

Hyijung Lee. A small maze of multicoloured gauze curtains that guides you to her card table. Really lovely and enjoyable use of tiny space.

Liz Elton. Mixtures of painting, and photographs of painting membranes in sea settings.

Rosie Farrell. Multi video installation - liked the set up - open shelves in the middle, projecting either sides.

Junghee Shin. Photos with toys or models really well integrated into street views.

And the catalogue:
Name, email, website. Not having some text is a missing opportunity, having too much is too much.

11th September 2012

Tacita Dean Film

Caught Tacita Dean's Turbine Hall piece at Tate Modern just before it finished. Every artist should have their Turbine Hall idea, an imaginary game like compiling Desert Island Discs. Ideas morph and change, and the great thing about this particular game is that there is an unlimited budget.

tate.org.uk/modern/exhibitions/unilever2011

Of course, as well as complex and magical ideas, there is the notion of just having a large piece of Moving Image playing, the dark hall around and the reflective floor as contributing to the ideas that Moving Image can also be monumental and sculptural. It's such an opportunity - the scale beyond cinema, the simple freedom to go large.

There are static film sprocket holes on either side of the piece, signifying the filmic element. The piece references and contains many ideas in art and Moving Image. It is tall and narrow, unlike usual formats. It sits and glows in space.

Personally I admit that I was a little disappointed with the content of Film. It just didn't quite match the epic presentation. I admit also that I am not a fan in general of suddenness and flashing editing in Moving Image. I wanted to like it more than I did - I do generally admire the work of Tacita Dean.

Perhaps my experience was a little ruined for me by imagining how I would have done it differently, what I would show in that space, what I think would work. Watching a play with an actor, or hearing a concert with a musician, they often pick up technicalities and inaccuracies which other people, civilians, are willing to let wash over them. Although the bigness of the piece and the setting was great, I didn't really see how it would give much new to Moving Image, apart from to promote its cause and make it a more usual exhibit in major galleries.

Doris Salcedo, Shibboleth, Tate Modern, 2007
http://www.tate.org.uk/modern/exhibitions/dorissalcedo/images/salcedo_shibboleth.gif
(accessed 19th March 2012)

Still visible in the floor of Tate Modern is the trace of the crack made by Doris Salcedo. Poor pictures by my camera phone, but the filled in traces still run the length of the hall. What a wonderful work that was - it was everything - intriguing, ambiguous, funny, alarming, irresistible and very memorable. I love that the ghost of it is still there.

pictures at Tate Modern, 9th March 2012

19th March 2012

Chris Orr, but really Sheila Fell

Attended an artist talk at the Royal Academy, by printmaker Chris Orr.

http://www.royalacademy.org.uk/exhibitions/the-tennant-gallery/lithorrgraphy,411,RAL.html

http://www.chrisorr-ra.com/index.php?content=home.htm

Chris Orr RA, Full Steam Ahead!', 2011Lithograph copyright the artist.

It is always interesting to see how artists present their work - it's an extension of practice, and the talk was edifying and quite entertaining. Some of his drawings are wonderfully detailed and have more to discover - they keep you looking.

He likes series of disguises and layers of false surfaces within drawings and prints.

I didn't see some of the rhythm he was talking about within his drawing, in the lines or gestures, and  in fact I found his sense of composition a little imbalanced for no particular reason.

Even more amazing for me was the collection of the paintings in the lecture room. They were an intriguing mix which I looked around after.

They have a painting by Sheila Fell.  

Sheila Fell

http://www.bbc.co.uk/programmes/b00tzmkf (accessed 10/3/2012)

wikipedia / Sheila Fell

I hadn't seen one of her paintings before, but I knew of her, as I had known her daughter, the extraordinary Anna Fell, some years ago when I was at music college. Anna was a few years older than me, and, looking back, I wasn't really ready for her at 19. However, she had an impact on me at the time. She used to talk of her mother sometimes, anecdotes about her life and the way she spoke. Anna said she had many of her paintings in storage that she couldn't afford to redeem at the time.

Allonby, Sheila Fell, 1955

http://www.jmlondon.com/pages/thumbnails/15770.html (accessed 10/3/2012)

I can't find an image of the painting I saw, even on the RA site, but I have since looked up several.

She died at around my age now. If she had lived, if she had painted more, she would have secured her position as one of the major painters of her time. She was regarded as such when she was alive.

Cumberland Village Under Snow, Sheila Fell, 1959

http://www.askart.com/askart/f/sheila_fell/sheila_fell.aspx (accessed 10/3/2012)

Her painting is really incredible - generous creamy paint, and heavy, almost concave skies, vertiginous hills, and cottages which are at once homely and unattainable. Cattle, walls, roads, everything in the landscape reflects, but in such an expert way, showing the depth that is already there, the shadows and colours like the opposite of surface.

And for me, an unexpected journey into a past I had not thought about for many years, a vanished part of my life, and a reverie about the people who are important chapters in life.

10th March 2012