Exhibitions

by Natasha

Kaleidoscope- Laura Buckley

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Kaleidoscope - Saatchi Gallery - visited 24th March 

really loved this exhibition and thought that it was really fun and interacting. however, when stepping inside the actually kaleidoscope I found it a really odd and surreal experience, it almost made me a little bit sick when I was in there for too long. 

I did really love her use of colour though, it was a good mix of both eye catching and bold but at the same time surprisingly hypnotic and calming.

this doesn't really fit with any of my work but I think that I could. take inspiration from her usr of colour pallet and merging of colours to create a desired effect from the audience. 

Bridget Riley - Tate Modern

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Bridget Riley - Tate Modern - visited 27th March 

even though this doesn't relate to the work I am doing now about the concept of perfection and subliminal landscapes, Bridget Riley was really influential when I was creating my work at the start of the project that was based on pattern making.

what I love most about her art that it is not based upon anything in particular, the patterns even though look thought out and semi regimented are actually free flowing and have an overall sense of freedom and movement in them. he use of colour is also extraordinary as well, they are bold but not in your face, I think that she has got the perfect mix between colour and pattern, if both the pattern and colour where very bold then the piece would be too much on the senses but the way she has done it makes the senses balance perfectly.

another thing that I noticed about her work is the scale of them, the first image I took showed a piece that was about 5 meters long - they are monumental pieces of art that I think are truly eye catching and brilliant.  

media network - Walead Beshty - Tate modern

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Walead Beshty - Tate Modern - vitiated 27th March 

what I found intersting was that at first looking at these photographs I had no idea that they are to do with politics or a theme even resembling with that. from first look with out reading the label I would say that the photographs look hallucinogenic and based around human living environments.

when reading the label this not only surprised me but also informed me about a piece of politics that I was not aware of before viewing this piece of art.

the photographs themselves I think are very engaging and almost hypnotic - they really draw you in when viewing them.  

Mark Rothko - Tate Modern

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Mark Rothko - Tate Modern - visited 27th March 

Mark Rothko saw these paintings as objects of contemplation, demanding the viewer’s complete absorption.

In the late 1950s, Rothko was commissioned to paint a series of murals for the fashionable Four Seasons restaurant, in the Seagram Building on Park Avenue, New York. He set to work, having constructed a scaffold in his studio to match the exact dimensions of the restaurant. However, the murals were darker in mood than his previous work. The bright and intense colours of his earlier paintings shifted to maroon, dark red and black.

Rothko was influenced by Michelangelo’s Laurentian Library in Florence, with its blind windows and deliberately oppressive atmosphere. Rothko reportedly commented that Michelangelo ‘achieved just the kind of feeling I’m after – he makes the viewers feel that they are trapped in a room where all the doors and windows are bricked up, so that all they can do is butt their heads forever against the wall.’

Recognising that the worldly setting of a restaurant would not be the ideal location for such a work, Rothko withdrew from the commission. He finally presented the series to the Tate Gallery, expressing his deep affection for England and for British artists.

This installation includes all nine of the paintings owned by Tate. Perceived, as the artist intended, in reduced light and in a compact space, the subtlety of the layered surfaces slowly emerges, revealing their solemn and meditative character.

 

when viewing these paintings the more that you look at them the more you are aware of the shades and tones of colour that lye beneath the surface. they are so vast that they take over the room and you are drawn into them immediately. I have walked past this room so many times visiting the Tate and every time have not been able to walk past these paintings with out going and sitting in front of them. I think there is something so magical about them and their presence is oddly inviting for such large pieces. 

materials and objects, expanding paint - Tate Modern

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In Italy in the late 1950s, Pinot Gallizio produced ‘Industrial Paintings’ on long rolls of canvas, questioning the idea of the painting as a unique object by using the technique of the production line. Other artists enlivened the process of painting with acts of symbolic violence. French artist Niki de Saint Phalle produced works by shooting at a canvas embedded with paint-filled balloons. Though such works were abstract and even playful, they seemed to reflect the memory and ongoing experience of war.

By the 1970s, artists were focusing on the physical structure of the painting. Sam Gilliamabandoned the wooden stretcher and draped his canvas over a hook, knowing that it would never fall in exactly the same way from one installation to the next. Richard Smith created a grid of aluminium poles that he used as the support for a green canvas sewn with various diagonal tapes. At first glance, the white canvas of Michael Buthe’s painting appears to have ripped to pieces, an impression carefully created by the artist who has painstakingly hung, tied and stitched it to the white-painted frame

 

what I took from this piece of art is the way that it comes away from the wall - the fact that the art does not have to confined to one space - it looked so free and really fills the space in which it is in. 

I also think that not being restricted to the wall it allows the art to be a lot more interactive with the viewer. 

Tracy Emin - white cube

Tracey Emin review – brutal portraits of female pain

White Cube Bermondsey, London

 
Tracey Emin opens her exhibition at the White Cube Bermondsey, London.
Tracy Emin - white cube - visited 6th April 
 

Tracey Emin opens her exhibition at the White Cube Bermondsey, London. Photograph: Facundo Arrizabalaga/EPA

A Fortnight of Tears – a powerful show of new work by Tracey Emin at the White Cube Bermondsey in London – opens with a trio of saint-like figures, each portraying the nature of their martyrdom. Shown along one wall, they form a triptych of loss: figures enduring the agonies of heartbreak, bereavement and reproductive trauma.

To the left, I Watched You Disappear. Pink Ghost is veal pale, a sketchy suggestion of a figure, diluted, weakened and fading at the edges as if dissolved by tears.

In the centre, I Was Too Young to be Carrying Your Ashes is hot, weighty and furious, flooded with thick red and black paint pushed hard into the canvas.

The last, You Were Still There, is painted face-on, a woman etiolated and floating in the depths of the canvas like a Giacometti painting, her head crowned with the suggestion of a halo, her belly darkened by the roiling suggestion of a living thing within.

Emin is haunted, and painting doesn’t offer much by way of exorcism. The horrific botched abortion she had in 1990, the rapes that she endured as a teenager, the death of her father: all that is still there, brutal and gut-felt. Added to the mix is fresh grief – the recent death of her mother – and sickly, accreted layers of love squandered and trust betrayed.

Throughout these latest paintings, ghostly figures float half-realised in the depths, part obscured by thin wash, but refusing to disappear completely. In some works they are spectral. In Can You Hear Me, two indistinct forms hover at a table laid with a Ouija board. Elsewhere, the ghostly figures are characters slipping into the past.

In I Made You Happen, passionate red lines show the artist lying in bed beside a man, but they are rendered indistinct beneath a scrub of white paint. After partly erasing the red lines, Emin has reasserted her presence on the canvas as a black outline, its face dissolving in an inky pool that casts streaks down the canvas like tears through mascara.

The watery title is apt for a show that finds Emin exploiting paint’s liquid nature to painful, visceral ends. In And So It Felt Like This, the spare details of a female figure are deftly sketched with fine blue lines on to a whitish background pulsing with suggested, shadowy figures. In the gap between her legs is a triangle of paint the colour of dried blood, applied crudely with a wide brush, and so wet that it gushes down the canvas as though cascading from an open wound.

That fat, paint-laden brush is used more violently in other paintings, where – armed with indigo, black and shit brown – it masks horrors we’re not allowed to see. The artist’s blank, turned face appears in They Held Me Down While He Fucked Me but the assault of the title is painted over – perhaps in anguish, perhaps in defiance.

For, as Emin’s art reminds us, emotional responses are seldom neat and compartmentalised. The pain experienced on the death of a parent is not sealed off and separate from the pain of a disintegrating relationship, or the pain that wells when you remember the child you didn’t and can never have. These feelings flood chaotically and confusingly together.

Don McCullin - Tate

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Don McCullin - Tate Britain - visited 12th April 

 

This exhibition showcases some of the most impactful photographs captured over the last 60 years. It includes many of his iconic war photographs – including images from Vietnam, Northern Ireland and more recently Syria. But it also focuses on the work he did at home in England, recording scenes of poverty and working class life in London’s East End and the industrial north, as well as meditative landscapes of his beloved Somerset, where he lives.​

as a lover of photography this exhibition was really special to me, I love the fact that it was like seeing snap shots of McCullis memories, I personally think that photography is the most personal prepresetnation of art as the action of taking the picture is so quick - you are really capturing the exact moment and energy that was there I that place. I think that this is more so than ever with McCullins work. not only are they emotional but they are personal and gripping too. There is a lot of emotion and energy within the exhibition.

John Stezaker - National portrait gallery

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John Stezaker - National Portrait Gallery - visited 17th April 

 

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Harold Sohlberg - Dulwich picture Gallery

 

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visited 25th April 

 

Be transported to the wild landscapes and enchanting villages of rural Norway

Harald Sohlberg, one of Norway's greatest painters, created works that evoke the wilderness of the Nordic landscape, the softness of its flower fields and the harsh beauty of its winters. This spring, the first major UK exhibition of Sohlberg's works comes to Dulwich Picture Gallery, celebrating 150 years since the artist's birth. With close to 100 works, we showcase the breadth and ambiguity of his paintings, and their enduring relevance in today's world. 

 

this exhibition I think is really interesting because I likes seeing other contemporary versions of landscape art. what I have realised is that I don't really like the abstract esc painting style when it comes to landscapes. I think that these are very impressive but I just think that they are a bit over the top and the colours don't compliment each other, instead of a calming beautiful landscape I think you are confronted with a harsh bamboozled landscape what just feels a big of a miss mash of techniques and ideas. 

Zhou Li - white cube

 

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Zhou Li - white cube - visited 26th April 

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I really loved this exhibition - the use of colour and abstract expressionism was really intriguing to me. this is the kind of art that I really love, the size, colours and sense of space with in the exhibition are things that I really drew inspiration from. what I have taken away from this is that the scale of your art is so extremely important to the emotions and feeling you wish to evoke. in this exhibition there was a range of sized prices, the large ones making you take a step back and producing a sense of ore when looking at them. however, due to the fact that he has used light colour tones they are not intimidating and you are drawn Into the art. 

the smaller pieces had a lot of blank space around them with emphasised their scale even more so, this conveyed a sense of curiosity to me, i immediately  found my self leaning into the piece to take a deeper look - which is something that I didn't do with the other ones. I did this not due to the fact it was so small I couldn't see what it was, but because the scale of the painting on the wall made it shrink. 

Sarah Morris - white cube

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Sarah Morris - white cube - visited 26th April 

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I researched Morris at the start of my project when I was looking at patterns, her work is very vibrant and eye catching - this was especially noticeable in the exhibition - it was a joyous if not a little overwhelming exhibition with a variety of patterns and colours on each wall.  

Nicholas Romeril - Chris Beetles Gallery

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A native of the Channel Islands, Nicholas Romeril captures the essence of what is central to so many islanders’ lives. His striking motifs of boulders, sand dunes and foaming seas create beautiful and dramatic visions of pristine coastlines. In 2018, Nicholas travelled to Antarctica as artist-in-residence for the Friends of the Scott Polar Research Institute, an experience that enabled him to focus on the stark, haunting beauty of the polar landscape.

I found this exhibition really eye opening to sea how other artist paint landscapes like mountain peaks- the similarity between the ice caps and the mountain peaks when painted in black and white were very prominent. I really liked the way that you could see the brush stroked in his work and how the use of colour then effected the mood of the piece. for example the black and white pieces where a lot more sinister than the ones painted in shades of blue. 

the black and white paintings also reminded me of lineo prints in the way that the brush stroke is continuous in areas but then short and quick in others.