Sonia Delaunay at the Tate Modern

by Sue Hubbard

017-new-delauYou really do wonder, sometimes, just how long some women artists have to be around before anyone takes notice. When asked by a callow journalist how she felt, in her 90s, at having recently become famous, the artist, Louise Bourgeois replied acerbically: “I’ve been ‘ere all along.”

That this current show at Tate Modern, by the artist, Sonia Delaunay, should be her first retrospective in the UK, despite her 60 year-long career, is surprising. Though not a household name, long before such things were au courant, she created a hallmark style as an avant-garde painter, and an innovative fashion and theatre designer. Anyone born in the 40s or 50s, whether they realise it or not, will be familiar with the influence of her abstract designs on post war fabrics. To be a woman artist during the height of modernism was something of a paradox. Modernism and its playground Paris certainly gave women new freedoms in terms of art education, living arrangements, travel and relationships. But art history has, despite inroads made in the 70s by feminist critics, been a narrative written largely from a male perspective.

Born Sara Élievna Stern in 1885, the youngest of a modest Jewish family from Odessa, Delaunay’s life reads like that of the heroine from a 19th century novel. Sent by her parents to live with her wealthy uncle, Henri Terk, she adopted the name Sofia Terk (though was always known as Sonia). Through her uncle she was introduced to the great museums of St. Petersburg, spent summers in Finland, and became familiar with European culture. At the age of 18 she went off to study art in Germany. Seeking to emancipate herself from her middle-class background she went in search of artistic freedom, reading books on psychology and philosophy, including the book of the moment, Nietzsche’s Beyond Good and Evil. She also developed a passion – one shared with her contemporary the poet Rainer Maria Rilke – for all things Slavic, perhaps as a way to stay in touch with her childhood. And she started to sew.

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Malevich at the Tate Modern until 26 Oct 2014

by Sue Hubbard

021Iconic is a much overused word but there are certain artworks that have changed the course of art history. Without them what we take for granted as contemporary art might have been totally different. Picasso’s 1907 Desmoiselles D’Avignon reconfigured the human form. His chthonic women act as a metaphor for psychological insecurity and the breakdown of old certainties rather than as a description or likeness. Duchamp’s Fountain, 1917, introduced the readymade and challenged the concept of elitist craft-led art, while Andy Warhol’s early 1960s soup cans appropriated banal everyday commodities, placing them within the sanctity of the museum and gallery. But without Kazimir Malevich’s Black Square, 1915, what he called ‘a bare icon… for my time’, contemporary abstract painting, as well as contemporary architecture, sculpture and design might have taken another direction altogether. It’s rare that an artist does something completely new. But Malevich, it might be argued, did. After him, painting no longer represented the world but became an end in itself, a new reality.

Born of Polish stock in Kiev in 1879, Malevich moved to Kursk in 1896. By the age of 27 this talented young man was living in the dynamic city of Moscow where successful merchants were collecting works by Cézanne, Gauguin, Matisse and Picasso. Malevich was to find himself – like Russia – balancing on the cultural fault line between Eastern and Western Europe. Should artists look back to traditional icon painting to create an authentic national art form or to the new movements coming from France?

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PETER DOIG: Early Works. Michael Werner Gallery, London

by Sue Hubbard

DOI 122It takes a certain chutzpah for an artist to dig out his early student work and put it on display for the world to access, especially in a rarefied Mayfair Gallery hidden away in a gracious Georgian house just yards from Claridges Hotel. In the case of Peter Doig, such confidence may well be underwritten by the fact that his White Canoe – a dreamy painting of a boat reflected in a lake like some post-modern version of Charon's craft – fetched the staggering sum of £5.7m in 2007 when put up for auction by Charles Saatchi.

Doig is something of an outsider. Born in Edinburgh in 1959, the son of a peripatetic shipping accountant, he lived in Trinidad from the age of two to seven, then moved to Canada until he was nineteen, where he took up such northern rituals as skiing and ice hockey. After leaving for London DOI 179to study painting at St. Martin's, followed by an MA at the Chelsea College of Art, he supported himself as a dresser at the English National Opera and became absorbed in the emerging club scene frequented by the likes of performance artist Leigh Bowery and experimental film makers such as Isaac Julien. Chelsea College was a very different proposition, then, to Goldsmiths, the conceptual kindergarten that spawned Damien Hirst, Sarah Lucas and Angus Fairhurst under the éminence grise Michael Craig Martin. It was full of painters still interested in the possibilities of what paint could do, despite the popular mantra that painting was a dead form. Doig was never allied to the conceptualist YBAs, or included in Saatchi's watershed show Sensation at the Royal Academy in 1997. And, unlike many of the YBAs, he continues to work alone, without a studio full of assistants. It doesn't appeal to him be surrounded by people he has to keep busy; to become a production line. He likes the “simplicity” of paint; “the directness, the dabbling quality”; and still believes in the possibilities of being able to surprise and innovate in this most ancient of media. People are always asking him when he's going to make a film. But he's not interested. His outsider status has meant that like many émigrés, he responds best to places he knows when he is not actually there. Canada was painted whilst in London, the Caribbean from the vantage point of his Tribeca Studio.

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