Tag: Girl in White

Chantal Joffe: Beside the Seaside

Posted on by Sue Hubbard

Jerwood Gallery Hastings, East Sussex, TN34 3DW, until 12th April 2015

by Sue Hubbard

CJ518_AnneSextonWithJoy_2008Chantal Joffe made her reputation as a painter with work inspired by pornography and fashion, based on images torn from magazines. She is friends with the fashion designer Stella McCartney, has painted Kate Moss and Lara Stone, collaborated with the fashion photographer, Miles Aldridge, painting his wife the model, Kristen McMenamy, in her Islington studio, while Aldridge filmed the process. She enjoys what clothes do to the body, the excuse they give her to paint zig-zags, polka dots and Matisse-like patterns. Her work, mostly of women, questions how images are constructed and presented, subtly challenging the objectification of the female form, wrenching it back from the traditional ‘male gaze'. Recently she's moved more towards painting friends and family – her daughter Esme, her niece Moll and her partner, the painter, Dan Coombs. The results are works of disquieting intimacy. It's no surprise to learn that she has long been a fan of the emotionally jagged photographs of Diana Arbus, whose studies she describes as having: “everything about the portrait of a human that you can ever want.”

Joffe was born in 1969 in St. Albans, a small town in Vermont, in the US. When she was 13 years old her family moved to England and she went to school in London. But it was not until her foundation course at Camberwell School of Art that she began to find herself by ‘discovering Soutine, and all that paint.' Now she has been invited to show at the Jerwood Gallery in Hastings, the beautiful seafront gallery with a view over the beach full of working boats. Beside the Seaside features a number of new and unseen works made especially for this show and reflects her long-standing links with Hastings where she frequently visits family who live in the town. She often draws on the beach, though photographs commonly provide a starting point. She's not interested in literal truth but rather in what goes on under the surface, the awkward emotions that are held in check and frequently remain unconscious, only to leak through the publicly presented face. Just outside the main gallery is her 2008 painting of Anne Sexton with Joy. An American confessional poet, writing in the 1950s, Sexton was attractive, ambitious, manic depressive and suicidal. Like Arbus she penetrated shallow and socially conventional facades to reveal a brew of anger and suicidal thoughts. Here she is shown with her daughter and we can see just how imbalanced that relationship is. Joy looks away as her glamorous mother clings to her, voracious and needy.

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Monday, May 5, 2014

The Maestà (1308-1311). Duccio da Buoninsegna. Opera Metropolitana Museum, Siena

Posted on by Sue Hubbard

by Sue Hubbard

Maest_0_duccio_1308-11_siena_duomoSiena, a mediaeval city of windy streets, dark alleys and red roofs is one of Italy's jewels. It may now be full of school children and tourists eating ice cream as they wander amongst the stylish shops or stop to have a drink in the Piazza del Campo – which twice yearly is turned into a horse racetrack for that lunatic and partisan stampede, the Palio – but it was in the Middle Ages that Siena reached its zenith. Having been ruled by the Longobards, then the Franks, it passed into the hands of the Prince-Bishops. During the 12th century these were overthrown by Consuls who set up a secular government. It was then that Siena attained the political and economic importance that led to its rivalry with that other gilded Tuscan city, Florence. The 12th century saw the construction of many beautiful buildings: numerous towers, nobles' houses, Romanesque churches, culminating in the construction of the famous black and white duomo.

The great age of Sienese art arguably started with Duccio. No contemporary accounts of him, nor any personal documents, have survived. Though there are many records about him in municipal archives: records of changing of address, payments, civil penalties and contracts that give some idea of the life of the painter. Little is known of his painting career. Many believe he studied under Cimabue, while others think that he may have actually traveled to Constantinople and learned directly from a Byzantine master.

As a young man Duccio probably worked in Assisi, though he spent virtually his entire life in Siena. He's first mentioned in Sienese documents in 1278 in connection with commissions for 12 wooden panels for the covers of the municipal books. In 1285, a lay brotherhood in Florence commissioned him to complete an altarpiece, known now as the Rusellai Madonna, for the church of Santa Maria Novella. By that date he must already have had something of a reputation, which guaranteed the quality of his work.

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Monday, February 10, 2014

Hannah Höch. Whitechapel Gallery London, 15th Jan-23rd March 14

Posted on by Sue Hubbard

by Sue Hubbard

Image-4In the 21st century we have largely lost touch with the avant-garde. In an age of rapid technological change, where the new is invariably seen as good, the shocks and surprises, the eclecticism and flattening out of postmodernism have become the new orthodoxy. No one is upset by a pickled shark or, for that matter, a pickled anything else being art. In-your-face and gritty is what we expect from contemporary culture. There is nothing much to dare anymore, nothing much to lose, in a society where what is ‘shocking' is mostly an ersatz construct quickly appropriated by the economic mainstream.

But at the beginning of the 20th century things were different. Establishment ideas held sway and there was plenty to be radical about. Epic socio-political changes were afoot. The growth of industrialism, photography, cinema and mass media, as well as the gradual emancipation of women, along with the decimation that was raging throughout Europe resulting in two World Wars, formed a potent mix.

In 1912 Anna Therese Johanne Höch, who had been born in 1889 in Gotha, Germany, left her comfortable upper-middle class home for the cultural melting pot of Berlin. There she attended the craft-orientated School of Applied Arts, an education not uncommon for young women at the time. Here her cultural interests and an astute eye saw her turn traditional craft into something quite new. During the turbulent years of the First World War she met poets and painters, publishers and musicians, including that guru of junk art, Kurt Schwitters, just as Dadaism was hitting town. In August 1920, her radical interests led her to take part in the First International Dada Fair.

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Monday, January 13, 2014

UPROAR! The First 50 years of The London Group 1913-63. Ben Uri Gallery, London

Posted on by Sue Hubbard

by Sue Hubbard

Cat-2-Sands-The-Pink-BoxIn the autumn of 1997 the Royal Academy of Art mounted Sensation, an exhibition of artists promoted by Charles Saatchi that included Damien Hirst, Michael Landy and Marcus Harvey's notorious painting of Myra Hindley. As the title of the exhibition suggested its aim was to shock. Many might be forgiven for thinking that such an act of épater les bourgeois was something new on the British art scene. But a fascinating exhibition, Uproar! at the Ben Uri Gallery, which marks the centenary of the London Group, an artists' exhibiting society set up at the beginning of the 20thcentury to provide a radical alternative to the staid intellectualism of institutions such as Royal Academy, (rather ironic given its later involvement with Sensation) shows that rocking the Establishment boat is nothing new.

Cat-48-Bratby-Kitchen-Interior-(2)Charting The London Group's first 50 years, the show reveals its complex history, its arguments, schisms and ideological discords. The choice of name signalled inclusivity, rather than the neighbourhood parochialism of the Fitzroy Street Group, The Camden Town Group and the Bloomsbury Group. Created at a time of exceptional turmoil in the British art world it brought together painters influenced by European Cubism and Futurism, and survived the early resignation of its founding fathers, the Danish-French artist, Lucien Pissarro, then living in London, and Walter Sickert, to continue to this day. From the onset the group's radicalism enraged many diehard critics. The Connoisseur snottily complained that in the work of Epstein and others ‘the artistic tendencies of the most advanced school of modern art are leading us back to the primitive instincts of the savage.' That many of the artists then panned now rank among the pantheon of British modernist greats might give some critics pause for thought.

From the start uproar raged both inside and outside the Group. There was press hostility to the ultra-modernists, rivalry between the Group and other exhibiting societies such as the New English Art Club, not to mention the warfare between Camden Townites and Wyndham Lewis's Vortecists, between the Surrealists and realists, as well as differing political attitudes exemplified by Mark Gertler's anti-war stance and Wyndham Lewis's bellicose right-wing posturing.

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Monday, July 22, 2013

Coronation! Westminster Abbey, London

Posted on by Sue Hubbard

by Sue Hubbard

6th May 2013 – 27th September 2013

3380301_10The day I went to Westminster Abbey London was sweltering. Long queues of tourists stood in the broiling sun in their shorts and sunhats. Listless children looked as though they rather be anywhere else. Another June day 60 years ago, the Queen's Coronation in 1953, was one of the coldest and wettest of the year. Perhaps there's something about the Monarchy that the weather gods don't favour. The Queen shivered through the recent sodden river pageant for her Diamond Jubilee.

As I made my way through the ancient cloisters to the Chapter House to find the small exhibition mounted to mark the 60th anniversary of the Coronation, I thought how strange it is that if you live in London you never come to these landmark locations and forget how redolent with history they are. Ostensibly the exhibition documents the energetic preparations undertaken at Westminster Abbey, the pomp and magnificence, and its prodigious transformation in the six months prior to the big day. The Ministry of Works, the government's building department at the time, carried out extensive arrangements to re-configure the Abbey and recorded it all in meticulous detail. Some of the original Ministry of Works prints, which are now all stored at The National Archives, Kew, have been scanned specially for use in the exhibition. David Eccles, the minister responsible, can be seen with his slick Brylcreamed hair explaining his vision to a press conference on 28th March 1953.

The Coronation caught the imagination of a nation ground down by post-war austerity and the photographs show how deeply enmeshed the monarchy is within the fabric of British society. Over hundreds of years it became a symbolic, almost magical institution at the heart of the nation. By implication, these potent photographs also emphasise that during the last sixty years it has slowly turned from something mystical and sacred into a plebeian soap opera that fills the pages of Hello and OK.

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Monday, March 4, 2013

A Terrible Beauty: Mat Collishaw

Posted on by Sue Hubbard

by Sue Hubbard

He, too, has resigned his part
In the casual comedy;
He, too, has been changed in his turn,
Transformed utterly:
A terrible beauty is born.

Extract from ‘Easter’, 1916, W B Yeats

Duty-Free-SpiritsSmallWhen we meet to discuss his work we have to decamp from the pub in Camberwell, which is both Mat Collishaw’s studio and stylish home, to a local café, as his apartment has been let out to a well known London store for a shoot and is full of rampaging children. But before we leave he shows me his new paintings. At first glance they appear to be abstract, constructed on a modernist grid, though the lines, in fact, are folds, creases left in the small square wraps of paper used to sell cocaine. These wraps have been torn from glossy magazines; there’s a woman’s foot in a high-heeled shoe resting on a glass table, and adverts for Fendi and Gucci. The subtext seems to be that these aspirational trappings are the spectral presence of an endless illusion that functions much like an addiction to drugs. You’re always left wanting more. The work is about debasement; the debasement of modernist painting as a form and as a result of the recent financial excesses that have led to the current economic crisis. This tension between the beautiful and the abject, between the promise of a possible paradise and the profane is central to all Mat Collishaw’s work. As the Marquis de Sade once said: “There is no better way to know death than to link it with some licentious image”.

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Monday, January 7, 2013

Jonas Mekas: Serpentine Gallery, London. Until 27 January 2013

Posted on by Sue Hubbard

by Sue Hubbard

_MG_3195 press pageHow do we remember? Before the invention of the camera most people never possessed a likeness of themselves or those they loved – a lock of hair, a letter, were the heart’s most treasured possessions, the artefacts that conjured the past. Photography democratised the ownership of images. A portrait need no longer be in watercolour or oils, it could be an informal snap taken on a box Brownie: a casual moment sealed in the proverbial amber of memory. With the technological advances of the 20thand 21st centuries, with film, video and digital technology and the predominance of surveillance equipment it might, theoretically, be possible to record a whole life from the moment of birth till the second of death. It was only a decade or so ago that the French Postmodernist social theorist Jean Baudrillard argued that the images which assault us – on our TVs, in film and advertising – are not copies of the real, but become truth in their own right: the hyperral. Where Plato had spoken of two kinds of image-making: the first a faithful reproduction of reality, the second intentionally distorted in order to make a copy appear correct to viewers (such as a in a painting) Baudrillard saw four: the basic reflection of reality; the perversion of reality; the pretence of reality, and the simulacrum, which “bears no relation to any reality whatsoever”. Baudrillard's simulacra were, basically, perceived as negative, but another modern French philosopher, Gilles Deleuze, has described simulacra as the vehicle by which accepted ideals or a “privileged position” can be “challenged and overturned”. Reality has become a complex issue.

_MG_3266 press pageJonas Mekas was 90 on Christmas Eve, which means that the film-maker, artist and poet, often referred to as the godfather of avant garde cinema, has lived through a lot of history. Born in Lithuania he spent part of the war in a forced labour camp, then after the hostilities ended, another four years in various displaced person’s camps such as Flensburg, Hamburg, Wiesbaden, Kassel – first in the British Zone, then in the American. With nothing much to do and a lot of time he read, he wrote and went to the movies, which were shown free in the camps by the Americans. So began his long relationship with film. Later, when he commuted to the French Zone to study at the University of Mainz, he met André Gide who told him to “work only for yourself,” and watched a lot of French cinema. After arriving in America he bought his first Bolex camera in 1950, which he used to film everyday scenes in Williamsburg, Brooklyn, and the Lithuanian immigrants who lived there. Describing himself and his brother as “two shabby, naïve Lithuanian boys, just out of forced labour camp”, it was not until some 10 years later that he decided to assemble the footage into a film.

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