Though I’d seen Yutaka Sone’s work before and found it fascinating, the work in his show at David Zwirner interested me more not just for the extraordinary accuracy of the marble cityscapes but for the places they represent. I think the only carved marble work by Sone I’d seen in real life before is Highway Junction 105-110 which depict freeway intersections in Los Angeles, a city I’ve never visited and only really know from films. The works felt a bit like architectural models, albeit it unexpectedly made of white marble. Here the cities are Venice, New York and Hong Kong. Admittedly I’ve only been to Hong Kong once, very briefly and a long time ago but the other two are cities I know well.
Sone has mapped the territory in incredible detail using methods as diverse as aerial surveillance and Google earth to gain as exact an understanding of the cityscape as possible before it is carved by hand into the marble.
John Pawson, Perspectives, 2011 (installed in San Giorgio Maggiore, Venice, 2013)
So, having lost my blogging mojo in 2013, it’s clearly time for a bit of a fresh start and a resolution to get back to writing random stuff about art on a vaguely regular basis in 2014.* It seems appropriate to start with a bit of a catch-up on things I’ve seen or been preoccupied by recently but not rambled on about. In some ways I quite like getting a bit of distance on stuff before posting so expect a preponderance of posts about the things that have stuck in my mind most clearly from 2013.
How time flies! When I was a student at the Royal College of Art it celebrated its centenary. That the college is now celebrating its 175th anniversary either means that I am a lot older than I thought or that the powers that be at the RCA can’t count. Or that they really like big birthdays. As it turns out, it’s this last option that sees the college celebrating 175 years as an art school a mere sixteen years after celebrating its centenary: the then Government School of Design was founded in 1837, becoming the National Art Training School in 1863 and the Royal College of Art in 1896.
The exhibition charts the history of what is apparently the world’s oldest art and design school in continuous operation and it’s an illustrious and fascinating history. Given the pool of alumni (and staff, past and present) from which the curators could select work, there were always going to be surprises both in terms of inclusions and omissions but this is a show that amply demonstrates the impact of RCA alumni on our cultural and day to day lives.
Elizabeth Price, The Woolworths Choir of 1979 (still), 2012
With the end of the year rapidly approaching and with the start of the academic year having provide rather too hectic for me to manage regular blogging as well, now seems like a good time to close some of the gaps by looking back at some of the art I’ve seen but not written about this in 2012. And where better to start than with the Turner Prize – which in fact I have already written about but for MostlyFilm rather than here – and with the work I correctly predicted would win. Of the work in the Turner Prize exhibition, other than Paul Noble’s Nobson drawings which I’ve seen from time to time over the years that he’s been making them, it was Elizabeth Price’s The Woolworths Choir of 1979 and that I was most familiar with having seen it quite by accident at MOT International earlier in the year. That encounter was an intriguing one; I’d headed to Bond Street to see, I think, Nancy Holt or maybe Jamie Shovlin at Haunch of Venison and had a enough time to spare to pop in to MOT without having checked what was on there.
Herzog & de Meuron and Ai Weiwei, Serpentine Pavilion, 2012
Not that you’d know it to look out of the window, but it’s summer. And, amongst other things, summer means a new Serpentine Pavilion. In a fit of optimism, this year’s pavilion is open sided so it’s likely that for much of the summer those venturing to see it will find themselves staying close to the middle to avoid the driving rain and quite possibly huddling together for warmth. Ah well…
So, disregarding the disparity between building and climate, is it good architecture? Does it work as a social space? Is that even what it’s for?
Given my recent preoccupation with work that transforms the space its shown in, making us focus on the gallery in a new way, it’s really about time I wrote about Observation Point, Zoe Leonard’s exhibition at Camden Arts Centre. Doubtless I would have written about this sooner, but I kept forgetting to go and see it; I love Camden Arts Centre and it’s really easy to get to for me but somehow those two facts seem to conspire to make me miss show after show there. Thankfully, this is one I didn’t miss.
Pretty much the only thing I knew about the exhibition before hand was that Leonard had turned one of the gallery spaces into a camera obscura. I was slightly worried that making my visit during a late night opening might prove to be a mistake but though the space – and the projected image of the road outside – was dim, it was nonetheless fascinating. Despite the work taking its title from the road the gallery is on, the lens points not at Arkwright Road but at the relentlessly busy Finchley Road to the side of the building. The traffic is constant but the skyline is also arresting with a large crane stretching from the wall onto the floor and across the space.
Of all Gerhard Richter’s work – and his practice is unusually varied – it’s probably his exploration of the relationship between painting and photography that interests me most. But I’d struggle to come up with a body of work by Richter that I don’t like, though I guess the 1980s’ squeegee paintings would probably be on the list if I tried – the colours just don’t work for me – though I love the later squeegee paintings. I’m often unsure quite where I stand when it comes to Richter’s work with mirrors and glass. I like the work, but the paintings are so amazing that the other works can seem irrelevant by comparison. But, like most art, it depends on the context.
Dia:Beacon is an extraordinary place. A former factory converted to display the Dia Art Foundation‘s collection of works from the last half century or so in appropriate surroundings, the industrial architecture is put to good use to provide some unusual and unusually large spaces to show the work. Many of the works housed here can’t easily be accommodated elsewhere. The collection – much of which was acquired in the 1970s and ’80s – contains work by many key late twentieth century artists – primarily but not exclusively American – with industrial scale sculpture particularly well represented; since the 1990s works by other artists of broadly the same generation have been added to the collection including Gerhard Richter’s Six Grey Mirrors.