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Tag Archives: Lucio Fontana

A Return to Classicism

16 Aug

Correlations between art and politics have been repeatedly shown and this is clearly apparent among a selection of this year’s graduates that have returned to classical forms, responding to economical situations in Greece particularly.  Perhaps this will become known as Post Neo-Classicism or Anarchaic Art.

At Goldsmiths Hannah Lyons (BA Art Practice) has created a Doric column from expanding foam that bends slightly to lean against the wall, needing to be propped up, like Greece needs support from other Euro zone countries including Germany.  Titled I Tried (2012) it infers the artist’s attempt to create something and the failure to achieve the desired perfection, requiring the practice and refinement that can be seen in Greek sculpture across the Archaic period and into the Classical period, yet this is emblematic of contemporary attempts to stimulate the economy and develop businesses.  Meanwhile in BA Photography at Camberwell College of Art Maria Gorodeckaya includes a smashed plaster Doric column, reflecting a broken economy, in her installation Деструкция (Destruction in Russian), Gorodecaya’s column lays in fragments as it was broken, with three main sections that one could imagine being sliced violently with the swipe of a sword, like the conversion to Christianity defacing polytheistic Classical sculpture.

Деструкция (2012) by Maria Gorodeckaya

Lyons also exhibited Ironic Piece of Work by Female Artist (2012) in which she has successfully cast a plaster female figure, Aphrodite or Venus perhaps, without head and arms like a classical relic, but potentially suggestive of this being a cost cutting measure, imagining the construction of a temple, from which it might have originated, as a public building project inevitably running over budget.  The irony here seems to lie in a female artist creating a female figure that is presented as a purely sexual object, devoid of any identifying features and with just a loose drape of a skirt for modesty, seemingly about to drop at any moment.  Furthermore this pure white figure is contrasted against dark arches painted on the surrounding walls, highlighting a possible reference to the abrasive cleaning carried out on sculptures from the Parthenon at the British Museum to make them stand out, and by turning the otherwise unused space of the lift lobby into that of a formal museum gallery she ostensibly lowers the latter to the level of importance of the lobby, a transient space one doesn’t really want to spend much time in.

Ironic Piece of Work by Female Artist (2012) by Hannah Lyons

Won Woo Lee‘s F.A.S.W. (First Abstract Sculpture in the World) (2012) project at the Royal College of Art (MA Sculpture) includes an amalgamated collection of fragments of plaster bust, arranged into a somewhat pot-like form, with just the occasional facial feature visibly emerging from the surface slightly, adding texture and some light shadowing in addition to the darkness seen inside the object.  Whilst this, like Gorodecaya’s work, is suggestive of uprising, it also speaks of the desire for perfection sought by Archaic sculptors and realised by their Classical successors, like Lyons’ I Tried.  Adjacent to this visitors are occasionally startled by Always Something Behind the Truth (2012), an adjacent table which suddenly shakes like someone is panning soil to find remains or gold on an archaeological dig, further accelerating the physical erosion of further facial fragments on top of it, as measures such as quantitative easing could potentially accelerate recession.

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London Art Fairs 2011: Bold and Textured

16 Oct

So, it’s show time for the art world in London.  Across the fairs and events visited thus far it seems there are trends for colourful work in bold primary and secondary colours and for textured work.

These themes began to emerge at the Pavilion of Art & Design London, where works for sale particularly include a number of pieces by Agostino Bonalumi on Galerie Vedovi’s stand, which build geometric patterns by stretching the canvas over various obstacles, some slashed work by Lucio Fontana, several Antoni Tàpies relief paintings, and a collection of collages by Roy Lichtenstein plus a design for a contemporary tapestry.  Here there seemed to be a particular choice of works with texture as the fair also contains a number of design stands, whilst the majority of work for sale is mid twentieth century.

At the Frieze Art Fair, Marc Quinn has left his Fingerprints all over Galerie Thaddaeus Ropac’s stand.  Indicating personal identity, authorship and uniqueness, the coloured version of this relief work seems to highlight the bacteria we may come in contact with in our daily lives, each secreting itself in a different groove in the texture of the finger print.

Fingerprints by Marc Quinn at Frieze Art Fair

Magali ReusBalance Sheet series on Galerie Fons Welters’ stand contrasts roughly textured silicon rubber with shiny, smooth aluminium grilles.

Balance Sheet Series (2011) by Magali Reus at Frieze Art Fair

Nick van Woert’s Not Yet Titled 7 (2011) on Yvon Lambert’s stand references Liam Gillick’s work and acts as a room divider almost akin to Richard Serra’s Titled Arc (1981), but is partially transparent.  A series of equal blocks are stacked horizontally, each containing different textured materials in different bold colours, including liquids, loft insulation, wire wool, chippings and powder.

Not Yet Titled 7 (2011) by Nick van Woert at Frieze Art Fair

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Works of Art for All Surfaces

26 Aug

Works of art can be designed to be installed practically anywhere, but one under used area is the ground we walk on. ArtCritiqued.com has tracked down a selection of artists making work both for and with floor surfaces that could be used by the dedicated collector, if you wished, to cover that last remaining blank space in your home.

Detail of 3, 2, 1, 0 A A and away 1, 2.. (2011) by Carlos Noronha Feio

Carlos Noronha Feio has designed a series of Arraiolos carpets, which depict images of modern technology that may be used in war such as jet fighter planes, tanks, rockets and satellites, although they can also have many other peaceful technological and exploratory functions. This is highly political work, like the doormat-size carpet seen in the window of a Mayfair carpet dealers depicting a United States Five Dollar Bill across its entire width, which offers conflicting potential views of American patronism and luxury, versas walking over a past president and abandoning capitalism or commercialism. In Feio’s work the blood shed by those on the front line, along with civilian casualties in situations such as the dropping of the atomic bomb in Hiroshima, is interwoven with that of the carpet makers, whilst Feio seemingly keeps his hands clean in designing the piece like a political or military leader.  This work consequently seems to question the reason for the existence and production of the depicted things, as the ownership of nuclear defence weapons seems questionable when no one would want to use them, and hence the work also addresses man as his own worst enemy.

These pieces have the feel of the tapestries worked up from Raphael’s cartoons for the Vatican. However, although the tapestries were the intended final work for Raphael’s commissioners, though not completed until after the artist’s death, the cartoons are revered and preserved in the V&A, but Feio’s designs have not been exhibited, though probably Raphael’s were never seen until after the artist’s death, apart from to be checked off by the Vatican prior to weaving, and may not have been intended to be seen.

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Explorations in Materiality and Texture

29 May

Earlier this month a group of Goldsmiths MA students recently collaborated on the exhibition The Second Attempt at Phane Terglo at Lewisham Arthouse, where all the works were in shades of beige.  As mentioned in the article ‘All That Glitters Isn’t Necessarily Gold‘, a trend for monochromous work appeared over the winter.  What came out of The Second Attempt at Phane Terglo was an experimentation with contrasting textures.  In an all-encompassing installation, painted surfaces that had the finish of raw plaster contrasted with smooth MDF and the striated cut edges of plywood.  Synthetic flowers hung from a washing line whilst minimal glasses of beige drinks with a cherry in sat on the ledge around the room.  Sliced potatoes sewn to a painted strip of fabric hung from the ceiling resembled diseased skin, whilst their decomposition mirrors that of Anya Gallaccio‘s works such as preserve ‘beauty’, where she places red gerberas behind glass and allows them to naturally die.  Finally a series of three monochromatic portrait paintings seemed effectively identical but for slight variations that possibly indicate the models may have been an Asian male, a white female and a black male, demonstrating that we are all alike and equal, whilst it could be said to reflect the dullness of a homogenised society and hence perhaps celebrate our individuality.

The ordered layout of Gallaccio’s work is also mirrored in that of Victoria Scott‘s Lenty Pond (2011), which was shown in the following exhibition at the same gallery.  A grid of nearly 500 petri dishes laid out on the gallery floor formed a graduated change of colour.  From a distance these appeared to contain pigment or coloured sand but in fact they are oil paintings on canvas cut out in a circle, potentially violently, where a selection seem to quite strongly represent landscape scenes, and resulting in their slight undulation.  It was also interesting to observe the reflection of the rectangular gridded windows on the grid of transparent pieces, which also draw to mind Carl Andre‘s floor pieces over which the audience are invited to walk, but in this case despite a lack of barrier it seems the work would be destroyed by this kind of interaction.

Quite different from Scott’s work but related to the use of texture and material in The Second Attempt at Phane Terglo, Neil Taylor translates material in his exhibition True Wood at Campbell Works.  Taylor has carved a series of works that resemble wood out of blue Styrofoam.  The exhibition has a distinctly religious undercurrent, using apparently found material from a neighbouring evangelical church; a powerful letterhead with an image of the crucifixion as a watermark, as both source material and a medium on which to draw or write.

Taylor’s use of material is most interesting in the less religious works where he has created pallets out of Styrofoam and polystyrene, ironically crossing junctions between art and its packaging materials.  The packing is rendered as art whilst it suggests the disastrous or comedic scene that would occur if they were used in the intended manner of pallets.

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