Sonia Delaunay at the Tate Modern

Posted on Monday, Apr 27, 2015 12:15AMFriday, December 8, 2017 by Sue Hubbard

by Sue Hubbard

017-new-delau You 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.

EXPOSED: Voyeurism, Surveillance and the Camera. Tate Modern, London

Posted on Monday, May 31, 2010 12:15AMFriday, December 8, 2017 by Sue Hubbard

by Sue Hubbard

Little could the British inventor, William Henry Fox Talbot, have imagined, when in 1841 he developed the calotype, an early photographic process using paper coated with silver iodide, where this nascent technology would lead; the ethical and moral questions that photography would raise. From Fox Talbot’s point of view the camera was about producing ‘natural images’. But more than 150 years later we know that the photographer’s relationship with his subject is more complicated. As Susan Sontag perceptively put it in her seminal book On Photography: “like a pair of binoculars with no right or wrong end, the camera makes exotic things near, intimate; and familiar things small, abstract, strange, much further away. It offers, in one easy, habit-forming activity, both participation and alienation in our own lives and those of others – allowing us to participate, while confirming alienation.”

Voyeurism and its cousin, surveillance, have been one of the unforeseen consequences of photography. We take it as a given of modern life that the celebrity is both hungry for photographic coverage, whilst feeling that the paparazzi (as in the case of the late Princess Diana) is constantly hounding them. One of the most complex questions raised by photography is what constitutes private space, provoking slippery questions about who is looking at whom and the degree of surreptitious pleasure and exploitation of power involved. Since its invention the camera has been used to make clandestine images and satisfy the desire to see what is normally hidden or taboo. No one knows exactly how many CCTV cameras are spying on us in the UK as we go about our day to day lives. A figure of 4.2 million cameras has been cited. That’s about one for every 14 citizens and means that most of us will pass an average of 300 cameras a day. Mobile phone and digital cameras are now ubiquitous, making voyeurs of us all.