I would say I promise to stop writing about Ceal Floyer’s work soon, but, well, there’s at least one more post forming itself in my head so who knows really. She provides just the right mix of ideas, empty white space (usually, but of course now another post, about work that isn’t empty or white is starting to form) and playfulness to make sure I’m fully engaged. In consisting largely of rawlplugs, Do Not Remove reminds me quite a lot of (some of) Susan Collis’s work which I’ve also written about here ad nauseam. Plus, there’s a sign and I rather like signs (indeed I find myself slight surprised to find that I haven’t tagged loads of posts as ‘signs’ but I suspect that’s down to shoddy tagging rather than a lack of posts about signs).
Drawing on a big scale – and some of Sol LeWitt’s larger wall drawings are on a very big scale, more installation than drawing really – can be quite an undertaking. Even if LeWitt had made most of his work himself he could have been forgiven for bringing in a team of assistants to help out. Given his strategy of generating instructions for others to follow though the process of drawing is, by definition, the domain of hired hands.
Thinking about the blurring of the boundary between sculpture and drawing brings Sol LeWitt to mind; add a fascination with geometry into the mix and I find myself looking afresh at LeWitt’s Open Geometric Structures in particular. There’s a beautiful simplicity to the structures – a term LeWitt favoured over sculptures – with the openness lending them a feeling of being drawings in space rather than, or as well as, being objects.
Christopher Williams, Bläsing G 2000, Bläsing GmbH, Essen Model: Christoph Boland, November 15th 2010, 2010
Christopher Williams’s pictures in the Deutsche Börse Photography Prize exhibition might well be really interesting were there enough of them on show to offer some sort of clue as to the artist’s intention. Sadly though the sharpness and objectivity of the images isn’t matched by a clarity of non-visual communication and I was left idly wondering what Williams wanted to say but without any determination to go out of my way to find out. Given that I actively like conceptual art, I probably fall into the section of the audience Williams has the most hope of winning round, although I do admit that once the ‘I really can’t be bothered with this’ feeling takes hold I do tend to given in to it with indecent haste and often quite bad grace.
John Baldessari, Everything is Purged from this Painting, 1968
Thinking about books becoming art yesterday made me ponder the use of text – one of the raw materials of books – as art. Language is key to the conceptual art of the 1960s, with the idea taking precedence over aesthetics. Inevitably the resulting work could be rather dry and hard to engage with, but this is far from universally true. John Baldessari’s text paintings work on several levels for me. Firstly, Baldessari confuses matters by rendering his text in paint on canvas. Secondly, the text is often funny, especially in the context of painting.