Richard Tuttle – anti elitist

Richard Tuttle – anti elitist

“I make my work for everybody. It’s not for some elite, inside crowd. Whether it takes them 40 years or 70 years to get it, it’s still for everyone. And I think someday, no matter what, it will be accessible to everyone. Call that a belief structure, call it whatever you like, but that’s how I go ahead.

“My generation and I dreamed of this project where art is something that’s as available to people as life itself, not something that gets stuffed in some basement. It’s a huge ambition, and maybe it’s not even possible. There has been a lot of nuttiness coming out from that, but the fact is, we had to be our own art historians, our own critics, our own apologists, our own social scientists along with making our work.” Admirable sentiments expressed by an admirable artist.

Excerpt taken from phaidon.com article.

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The Critical Edge II, 2015 – Richard Tuttle courtesy The Pace Gallery

 

 

When grindcore met ceramics

When grindcore met ceramics

After a recent conversation about my interest in the space between high brow and low brow art, Keith Harrison was brought to my attention.

In 2013, whilst artist Keith Harrison was Ceramicist in Residence at the Victoria and Albert Museum in London, he proposed a work whereby grindcore legends Napalm Death would play a set synced to speakers covered in ceramics and slip.

Now this did end up happening, but it wasn’t in the V&A. I’m intrigued by how Harrison played out his interest in the two seemingly disparate areas. grindcore and ceramics…amazing.

Keith Harrison website

The Independent Newspaper article

Napalm Death Interview with Vinyl Factory

Featured image taken from here

 

 

Jonathan Lasker

Jonathan Lasker

I’m drawn to Lasker’s work described by New York Times writer Ken Johnson, 2016, as ‘postmodern Pop-abstraction’, Theres a lively balance of energy and control, played out in varying brush stroke thicknesses and methods of application.

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The Consequences of Idealism in an Imperfect World
Oil on Linen
2011 60 x 80 inches, (152 cm x 203 cm)
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The Temporal Present
Oil on Linen
2016 40 x 30 inches, (102 cm x 76 cm)

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The Placement of Objects in an Uncertain Universe
Oil on Linen
2013 60 x 80 inches, (152 cm x 203 cm)
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Self and Expression
Oil on Linen
2012 75 x 100 inches, (191 cm x 254 cm)
 

All Images taken from jonathanlasker.net

Exhibition Reviews Cheim Read

Car Hoods: Judy Chicago

Car Hoods: Judy Chicago

Researching Judy Chicago is like stepping into a room with 5 doors in it, behind each door a different; skill, struggle, controversy, and barrier stretched and broken.

I’m taken by Chicago for the techniques she used and owned, her approach to colour and shape and her perseverance and audaciousness. In particular the Car Hood series, started in 1965 and completed in 2011.

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Car Hoods Sketch ‘Mother Superette’ shown at ‘Star C*nts and Other Attractions’, 2015, Riflemakers Gallery.

Having learnt to spray-paint cars in the early 60s, said to have been inspired by her professor Billy Al Bengston, Chicago put her new found skills to work and combined them with bold, geometric patterns representative of predominantly female, and male genitalia. Much to the dislike of her professors who felt there was no place for this or reproductive organs within the art world.

 

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Judy Chicago,  Birth Hood, Bigamy Hood, 1965-2011, Sprayed acrylic on carhood

Judy Chicago was one of the pioneers of the feminist art movement in the 1970s, having also created an all female art school, ArtsCal with artist Miriam Schiapiro. She was also involved with the Ferus Gallery, lead by the Ferus Gang, one of which was her professor Billy Al Bengston. Although it would seem this was merely a starting point for her.

 

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Mesquite Western Series (1969) Lacquer and Polyester Resin on Aluminum, 23” x 22”

‘The Dinner Party’, which although is from the 70s is the most well know piece, in part for the controversy that surrounded the first exhibition, and subsequent grass routes organisations that kept the exhibition in the limelight travelling internationally. Judy Chicago put the female at the forefront, and continues to do so today. She challenges the inclusivity of the female in a male dominated art world. Highlighting women in history that have been censored, left behind, and averted through a culture of male self importance, and underserved superiority.

 

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Really Sad/Power Mad from PowerPlay, 1986, Prismacolour and pastel on paper

 

Interesting reads and videos about Judy Chicago

Womanhouse Documentary

‘Is It still a man’s world’ Getty blog

‘Looking under Judy Chicago’s Car Hood’ Getty blog

‘Star C*nts and Other Attractions’ exhibition review

’40 Fenders and Dada in Rearview Mirror’ – NY Times article on Art Cars

 

 

kurt Schwitters – Merzbau

kurt Schwitters – Merzbau

I found myself in the process of marking my space in the studio. Taking control of how much light enters the space, I blocked out the light and created a suspended ceiling with curved sides.

It was an attempt to create a more appropriate space to assist in my projections. So I hope its suited to the job.

Kurt Schwitters created what he called his greatest living work, the ‘Merzbau’, a space with 3-D structures growing from the floor, ceiling and projecting out of the walls. In this altered space he created his so called merz paintings, and merz sculptures up until 1937.

Merz is a snippet of the German word for commerce, Commerz!

Image information: The Hannover Merzbau by Kurt Schwitters. Photo by Wilhelm Redemann, 1933. From MoMA website

 

Set Theory – Francis Alys

Set Theory – Francis Alys

 

The ‘New York Triptych’ always sits in the back of my mind. Primarily its the execution of the two paintings by the sign writers, and secondary to that is Francis Alys concept.

Watch the video for ‘Set Theory’ here.

 

Sigmar Polke

Sigmar Polke

Polkes capacity and drive to cross mediums and experiment with materials are very inspirational.

‘Polke’s notoriously multidisciplinary approach produced an expansive oeuvre, marked by promiscuity in material and medium as well as an absence of identifiable style, yet all the while bearing the hallmark of his inimitable spirit as playful provocateur.’ From Nahmad Contemporary.

 

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Fensterfront, 1994
 

 

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To create this work, Polke has very simply adapted his environment.

 

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Libespaar II [Lovers II] 1965, Oil on canvas

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Affen 1974 Dispersion and spray enamel on canvas
References:

Tate

Alex Kittle Blog

Nahmad Contemporary

Book: Alibis, Sigmar Polke, 1963-2010, MoMA