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September 25, 2016
Nan Goldin’s The Ballad of Sexual Dependency, arguably her magnum opus, is currently on view at The Museum of Modern Art. The slideshow of nearly 700 images is set to a wide-ranging soundtrack of pop, classical opera, and rock & roll music. The images are of the artist, her circle of friends, lovers, and acquaintances that Goldin affectionately refers to as her ‘tribe’ from the 1970s and 1980s.
Her images are so immediate that you feel as if you are there, in the dive bars and bedrooms of her gritty, real world. By creating The Ballad, Goldin documents the events of her own life and the lives of her friends through images that tell deeply personal stories. Her photographs capture unnerving episodes of addiction, drug abuse, domestic violence, and illness, while simultaneously embodying moments of joy, comedy, youth, ecstasy, and beauty. Goldin wrote that “The Ballad of Sexual Dependency is the diary I let people read. The diary is my form of control over my life. It allows me to obsessively record every detail. It enables me to remember.”
There are three rooms dedicated to the display of her photographs. The first includes an installation of materials from Goldin’s archive, early promotional objects for the first iterations of the work, and a mock-up of the book The Ballad of Sexual Dependency. The slideshow has been shown on many occasions since Goldin first created it in 1980. Originally, she changed the slides by hand for an audience comprised of mainly her subjects.
In the second room there is a selection of prints from the MoMA’s collection that constitute some of Goldin’s most evocative images from the film. They show the artist and her subjects grappling with the realities of physical and emotional abuse, while simultaneously indulging in moments of lust and tenderness. Some standouts include “David and Butch Crying at Tin Pan Alley, New York City,” “Rise and Monty Kissing, New York City,” and “Nan and Bryan in Bed, New York City.” Each of these images feels fiercely candid and intimate, as if the viewer was intruding on an intensely personal moment.
The third room is the slideshow itself, which runs for about 45 minutes with a short intermission. The images are grouped loosely around visual themes, like people in front of a mirror getting ready to go out, uninhibited sex, New York bar culture, drag queens and performers, the weddings of young friends, parenthood and young children, drug addiction and, ultimately, death. The film is scored to an array of musical genres including an aria performed by Maria Callas, the Velvet Underground’s “All Tomorrow’s Parties,” Screamin’ Jay Hawkins’ “I Put A Spell On You,” Petula Clark’s “Downtown,” and James Brown’s “It’s A Man’s World.”
In the age of social media and advertising, where you can be bombarded by images that are photoshopped, filtered, and staged, The Ballad of Sexual Dependency presents the raw, unedited truth of what Nan Goldin and her subjects experienced in the New York of the 1980s.
The Ballad of Sexual Dependency is on view at the Museum of Modern Art on the 2nd floor Contemporary Art Galleries through February 12th, 2017.
September 22, 2016
A few weeks ago I wrote about Mona Hatoum’s tribute exhibition at Tate Modern, London. This particular piece is sensitively related to how an immigrant and refugee managed to break into a cultural scene that could seem enclosed and restricted only to Western artists.
When we think about globalization, we must understand that it affects us in many ways. One of them is cultural expansion. People travel longer distances with less effort nowadays, and decide to immigrate more often, carrying a large baggage full of customs, language influences, and cultural habits with them. Technology also spreads very quickly, connecting more and more people each day.
As ethnic and national populations move around the globe, they establish emotional ties with their places of origin. Artists in particular express their emotional longing, admiration, and sometimes worship of their mother lands in pieces of art that become part of their new country’s cultural heritage.
Contemporary Middle Eastern art, for instance, seems to provide answers to all the questions that the rest of the world has about this region’s traditions and cultural background. It is a silent voice that leaves a perpetual echo, one that sings the chorus of a struggle and of tortured beauty. There can be no discrimination in the space of art. A painting, a photograph, a sculpture or an installation remain anonymous for the viewer during the first few minutes of interaction. The name of the artist comes as a revelation. The level of admiration increases, the act of understanding intensifies, and finally an interest has been planted for a long time in the brain and heart of the art lover.
In today’s context, Abu Dhabi is expected to finalize works on its own branches of the Guggenheim and Louvre museums, which will shift the interest of the world from this distant city’s extravagant architecture and lifestyle, to its status as one of the world’s capitals for contemporary art.
Abu Dhabi is not the first capital to host both Middle Eastern and global art in an environment that unfortunately is not usually linked to the idea of globalization. For instance, Beirut, the capital of Lebanon, experienced a renaissance of sorts in the mid-20th century. Following World War II, the city became a tourist destination and a financial center. It was even nicknamed “the Paris of the Middle East” thanks to its French influences and vibrant cultural and intellectual life.
Architect Galal Mahmoud said about Beirut that its history is encompassed in the history of the world, as it includes layers of Roman, Ottoman, Persian and Phoenician influences. Today, Beirut is a place where you can constantly navigate between different minorities and their cultural backgrounds; it is a place where you learn to be more tolerant and open, where you must respect people from a variety of beliefs and backgrounds. It pretty much sounds like Paris today, or London, or New York.
Now, could Abu Dhabi offer the same vibe? Will the opening of these two monster houses of art attract only the nouveaux riches, or also well-educated and art-thirsty tourists? With a long history of influences (first Iranian in the 1900s, followed by Asian and European in the 1950s and 1960s), just like most of the big capitals of the world, Abu Dhabi is a place that can host most, if not all, the Middle Eastern art outbreaks.
The architectural design of the Abu Dhabi Guggenheim Museum was offered to architect Frank Gehry, who describes the idea behind the structure as: “… Low tech language. The character is messy… like a medieval city that came together over time… You go through this messiness and you find the centre.” The museum will be located on Saadiyat Island, just offshore of the city of Abu Dhabi. The island’s Cultural District will house the largest cluster of world-class cultural assets in Abu Dhabi. The Guggenheim building is part of a massive project to “create an exhibition space intended to turn this once-sleepy desert city along the Persian Gulf into an international arts capital and tourist destination.” (The New York Times)
“Someday, my paintings will be hanging in the Louvre”, van Gogh once said. A museum does not need further introduction. Abu Dhabi is preparing to open the doors to their very own Louvre -possibly in 2017-, a project that consists on building an island inside an island. The architect, Jean Nouvel, wants the museum to belong completely to the culture, history, geography and climate of Abu Dhabi. He has envisioned a place that people would want visit and revisit. As in most Arab cities, there will be a strong contrast between the temperature outside and inside of the venue. People will feel good thanks to this, and will want to share the experience with other people there. A medina of art, built with traditional architectural techniques, held together by an impressive modern dome that encompasses the beauty and poetry of light.
With these two architectural masterpieces, I believe that Abu Dhabi is breaking into the art world in the most elegant way possible. With the work of those Middle Eastern artists that have been moving audiences throughout the world, and with a continuous flow of ideas and cultural influences, the opening of the Guggenheim and Louvre buildings in the island of Abu Dhabi is announcing that the world is yet to be enchanted and pleasantly surprised.
Federico Fellini once said that “all art is autobiographical”, and Middle Eastern art is constantly underlining this statement. Globally, we are becoming an entity, we are coming closer and closer, and art has a lot to gain from this beautiful gathering of cultural differences. One day, people will be reading “An Autobiography of Earth’s Cultural Identity”.
September 19, 2016
In the decades after the death of George Balanchine (1904-1983), the most prominent and influential choreographer in America during the 20th-century, many in the ballet world did not think that any new choreographers would live up to his creative legacy. Nevertheless, in the new millennia many young choreographers have created new, ground-breaking ballets. The five listed below are a few examples of choreographers who seamlessly integrate the classical language of ballet with modernist aesthetics, while creating fresh and exciting performances for audiences to enjoy. Also, these choreographers often take inspiration from the visual art world, making ballet a much more dynamic art form.
Justin Peck, a soloist with the New York City Ballet, has become one of the most sought after choreographers in the ballet world. After being appointed resident choreographer of the New York City Ballet back in 2014, he has produced work for the Pacific Northwest Ballet, the Paris Opera Ballet, and the Miami City Ballet. He has also been featured in the Guggenheim Museum’s Works & Process program. His ballets are positively explosive. The dancers move faster than one might expect, and his work is very musically driven, meaning that almost every musical phrase of the score has a movement accompanying it. He is quite a collaborative choreographer who reaches outside the bubble of the dance world for inspiration. His most recent ballet, In the Countenance of Kings, is set to music composed by Sufjan Stevens, and the set for his piece Heatscape was designed by street artist Shepard Fairey, with the promotional material shot at Miami’s Wynwood Walls. He was the subject of the documentary Ballet 422, which revolves around the creation of his third ballet for the New York City Ballet, from its inception to the opening night.
Annabelle Lopez Ochoa
Half-Colombian and half-Belgian, Annabelle Lopez Ochoa trained at the Royal Ballet Academy in Antwerp, Belgium, and performed with a wide variety of European ballet and modern dance companies before working as a choreographer. She has been praised as “the rising star of the Dutch dance scene” by the Dutch press. Her pieces integrate the energy of modern dance in the classical vocabulary of ballet. They can be quite languid, with moments that move between stillness and quick, animated movement. Some of her most recent work has been very athletic, challenging dancers with complicated lifts and floor-work, like in her piece Before After. She has also created works for the musical theatre, for opera productions, and for fashion events. In the United States, her ballet Mammatus premiered at the Joffrey Ballet in 2015, and she is presenting a piece at the New York City Ballet this fall.
As the former artistic director of the Bolshoi Ballet and current resident choreographer at the American Ballet Theatre, Alexei Ratmansky‘s name has become synonymous for innovation. He has staged his own versions of classic 19th-century story ballets like Sleeping Beauty, The Nutcracker, Don Quixote, The Firebird, and Swan Lake, updating them to make them even more appealing to a contemporary audience. Simultaneously, he is creating entirely new ballets like his Shostakovich Trilogy for the American Ballet Theatre, and has taken inspiration from Wassily Kandinsky’s paintings for the set and costumes of his most recent piece for the New York City Ballet, Pictures at an Exhibition. Ratmansky’s new ballets are usually set to complex pieces of music, which match the intensity and dramatic movement that is so characteristic of his work.
British choreographer David Dawson trained at the Royal Ballet School and danced professionally with the Birmingham Royal Ballet and the Dutch National Ballet. His piece A Million Kisses to My Skin, set to Bach’s Concerto No. 1 in D Minor, is an exuberant ballet with swooping asymmetrical, expansive movements. The Nature of Daylight is a powerfully captivating work about seeking and missing true love, which he conveys through a rapturous pas de deux and a dramatic score by Max Richter. Though the two ballets have very different moods, they are equally athletic, with complicated lift sequences that transition into extensive synchronized passages.
No discussion of contemporary ballet would be complete without mentioning Christopher Wheeldon. The artistic director of the New York City Ballet appointed Wheeldon as the company’s inaugural choreographer in residence in 2001. Wheeldon had trained at the Royal Ballet School in London and performed with the Royal Ballet before moving to New York to be a soloist. Once there, with former principal dancer Wendy Whelan as his muse, he created the ballets Polyphonia, Within the Golden Hour, and After the Rain. Working once again with the Royal Ballet, he produced two full-length ballets –Alice’s Adventures in Wonderland and The Winter’s Tale- and the one-act piece Strapless, based on the story behind John Singer Sargent’s painting Madam X. He has been credited with bringing ballet into the mainstream with his Tony Award-winning choreography of the Broadway musical An American in Paris.
September 14, 2016
START Art Fair opens its third edition on September 15th in London. Located in the unique Saatchi Gallery, this new (compared to others) art fair is a star on the rise. Apart from featuring and showcasing emerging artists and galleries from all over the world, the fair also stands out for its curatorial projects. This year’s START Projects present works by Iraq-born and Qatari-based artist Mahmoud Obaidi.
The director of START is Niru Ratnam (check out his twitter). A believer in cultural globalization, Ratnam, who previously worked as Head of Development at Art14, brings the multicultural drive and global focus to the fair. We talked about START, London’s art scene and what Brexit could potentially mean for the art world.
What was the initial idea behind START and what is new in its third edition opening next week?
The idea behind START is very simple – an art fair set in a museum-quality location that focuses on emerging artists and new art scenes. There are lots of great art fairs around Europe so we wanted to do something that was a bit different – where you could go to and come away with a series of new discoveries. Ideally we want each visitor to go away with interests in artists and gallerists who they haven’t come across before. In terms of the setting, I wanted to move away from the trade show type venues that most art fairs go for and do something in the type of place that you’d normally visit for an exhibition – hence the Saatchi Gallery is our base.
Apart from its boutique-like setting at Saatchi Gallery, how does START differ from other art fairs happening in London?
We try to have quite a tight focus—on emerging artists and new art scenes. So the emphasis is very much on discovering artists and galleries who are new to you. Lots of these galleries are new to London audiences, so hopefully that gives the fair a little bit of a unique flavour.
START is relatively small scale compared to other art fairs. Would you think of expansion?
I think fair organizers are realizing that viewers, no matter how expert, can only meaningfully look at a certain amount of art and artists at a fair. At a certain point, no matter how good a fair is, it becomes a blur, which means that the good stuff you seen gets forgotten. Also in terms of collectors, it just gets too confusing if there is too much to see.
How do you select artists for START Projects?
Again the emphasis is very much on looking at new art scenes in a bit more depth, so the opportunity to showcase Mahmoud Obaidi’s work in advance of his major museum show in Qatar, introducing him to London audiences at START makes perfect sense. He is exactly the type of artist that START is all about –somebody with a strong reputation in the region where he works but one who deserves recognition on a wider stage — and his participation as both artist and a curator in START Projects emphasizes the important role that established artists play in nurturing emerging talent in new art scenes where there is a relative scarcity of public institutions.
We tend to take each edition one at a time – we’re not a big art fair or organisation that will suddenly roll out three similar fairs around the world. So the main plan is simply to deliver a really great edition again!
What are your views on cultural globalisation being even more pronounced now due to political changes both in the UK and the world?
Do you think London will still remain the heart of the art industry or will it shift in view of Brexit?
September 13, 2016
“But A Storm Is Blowing From Paradise: Contemporary Art from the Middle East and North Africa” at the Solomon R. Guggenheim Museum is the third installment of the UBS Map Global Art Initiative, which aims to add contemporary art to the museum’s permanent collection from underrepresented regions of the world. The previous exhibitions featured works from Latin America and Southeast Asia. The initiative’s objective is to create a more diverse, cross-cultural dialogue about the contemporary art being created and exhibited today.
“But A Storm Is Blowing From Paradise” features seventeen artists whose works span a wide variety of media, including video, painting, photography, works on paper, bronze and copper sculpture, and installation pieces. The curator, Sara Raza (whose Instagram @punkorientalism is fabulous and worth checking out), includes artworks that grapple with immigration, geometry, architecture, and cultural memory.
The first work of art you see once you enter the exhibition is made of the most unusual and surprising material I’ve ever encountered in a museum—couscous! The artist Kader Attia recreated the UNESCO World Heritage Site of the ancient city of Ghardaïa using the Middle Eastern culinary staple. On the two walls behind the sculpture are images of the French architects Le Corbusier and his successor Fernand Pouillon. The two men visited Ghardaïa, Algeria in the 1930s and reworked elements of the local architecture into the aesthetic of European modern architecture, but never acknowledged or credited where they found their inspiration. The piece makes a thought-provoking statement about the colonial past of France and Algeria, and artistic colonization.
Another standout piece is Abbas Akhavan’s ‘Study for a Monument,’ which is a large array of bronze sculptures arranged on the floor not far from couscous sculpture. The bronzes are reproductions of plants native to ‘the cradle of civilization’: modern day Iraq. The decades of war has caused irreparable damage to the environment and ecology of the nation. And the plants Akhavan reproduces are representative of either endangered or extinct species. The title of the work plays with our idea of what a monument is—an object that glorifies or commemorates something forever.
My favorite artist within the exhibition is Nadia Kaabi-Linke. Her stainless steel sculpture ‘Flying Carpets’ hangs from the gallery’s high ceilings. The geometry of the sculpture corresponds to the dimension of blankets used by undocumented immigrant street vendors who sell their goods illegally. Kaabi-Linke encountered many of these vendors during her time in Venice, Italy, and the sculpture mirrors the arch of Venetian bridges. The title alludes to a trope in oriental myth, but is grounded in the realities of the migration crisis. The cage-like sculpture could even stand for the trap these immigrants find themselves in within the black market. These individuals face a constant threat of being arrested or deported for their illegal activity. The geometry of sculpture is breathtaking, and it throws beautifully intricate shadows along the surrounding walls.
One of the things that I appreciated the most about this exhibition is that it doesn’t try to discuss or grapple with every geopolitical, social, religious, or cultural issue that the Middle East and North Africa are dealing with. Instead, it chooses to show how a few contemporary artists can conceptually convey the complexity of the Middle East. Hopefully seeing the exhibition will inspire visitors to reevaluate their impression of the region through the lens of contemporary art.
“But A Storm Is Blowing From Paradise” is on view at the Solomon R. Guggenheim Museum until October 5th, 2016. In 2017, it will travel to the Pera Museum in Istanbul.
September 7, 2016
The Prado, the Reina Sofía, the Thyssen-Bornemisza. If you are travelling to Madrid, those are the museums you will most likely visit. They are, of course, a must-see. But the city is packed with interesting museums and galleries outside this so-called Golden Triangle of Art. There are hundreds of things to see, but today I am focusing on a small exhibition in one of my favourite spots, the ABC Museum of Drawing and Illustration.
The museum building, a former beer factory built in the nineteenth century, hosts the ABC Collection, which includes nearly 200,000 artworks that sum up a century of graphic art in Spain. One of their exhibition programmes, Connections, invites artists linked to the world of drawing to develop a project for the museum, taking as its starting point works from the ABC Collection and the Santander Collection.
The latest edition of Connections presents the work of Madrid-based artist Marina Vargas (Granada, 1980), who exhibits Fate Lines, a project inspired by a tarot session with a Cuban “Santera”. The artist reinterprets nine tarot figures in her very original and well-defined vocabulary, in which different referents –such as Baroque, Pop, Surrealism, and Symbolism— coexist.
The exhibition only occupies one small room at the museum, where Vargas’s giant tarot cards (they are more than 2 metres tall) are the main attraction, capturing the viewer’s eye with their intricate details. The works the artist has taken for inspiration are a pair of eighteenth-century ornamental ceramic vases made in the Royal Factory of Alcora (Valencian Community) and a 1930 cover of the Spanish magazine Blanco y Negro. Both the vases and the cover are linked to the designs in the Spanish playing cards, which are mixed with those in the Tarot de Marseille in Vargas’s works.
Marina Vargas studied Fine Art at the University of Granada, and her work has been shown, among other places, in New York, Mexico, La Habana and Milan. She uses different media to explore her many interests, which include religion, symbolism, and identity. I am particularly fascinated by her sculptural work around the idea of classical beauty, such as the pieces featured in her 2015 exhibition Nor Animal Neither Angel, at CAC Málaga.
In the case of her tarot cards, everything starts with a digital drawing where Vargas combines different images. She then transfers this to a wood panel using graphite and proceeds to apply paint. However, she returns to drawing over and over during the process, as can be seen in a couple of cards which the artist has left unfinished.
That is precisely the most interesting aspect of Fate Lines: that it offers the viewer the opportunity to learn more about the artist’s process. Besides the aforementioned works, the exhibition also includes a video of the tarot session that inspired the series, the images and documents that Vargas used during her research, and a collage that developed in her studio walls while she worked on the pieces.
Georges Braque, André Breton, Salvador Dalí, and Leonora Carrington are some of the artists that were inspired by the Tarot de Marseille. For Marina Vargas it becomes the perfect medium to explore her interest in symbolism. But her own language is so powerful that it not only modifies, but completely transmutes the traditional images, while at the same time the signs of her destiny are assimilated into her own particular language.
Marina Vargas. Fate Lines. Museo ABC (Amaniel 29-31, Madrid). 17 Jun – 20 Nov 2016.
September 4, 2016
Anouska Beckwith, England-born and Paris-based photographer, is the artist to follow. Interested in nature and mystical, Anouska tries to capture the intrinsic relationship between the unseen natural wonders and presents her subjects in the dreamlike settings.
The founder of the World Wide Women, the collective of female photographers from all over the world, the artist searches for ways of expressing her own views on the world by means of photography, poetry and music. Her models are frequently musicians and other people from creative industries giving her photographs yet an extra layer of artistic meaning.
This September Anouska presents her second solo show (following her debut in New York last yer with the show Transcendence) and her first solo show in London called Uni~Verse at the Palm Tree Gallery. I met Anouska last year when we discussed her creative process and her inspirations to follow up her own practice and perhaps have a solo show in London. Now, when the show is finally happening, we talked again, discussing the background behind Uni~Verse and the new future ambitions.
Why did you choose the word Uni~Verse as the title for your show?
I chose the title ‘Uni-Verse’ for the show as I loved the meaning, ‘One song’ coming from the Greek origin.
I believe that despite humans, animals and nature being different from one another we are all a collection of parts that make up the whole to form ‘one song’. I felt that ‘Uni-Verse’ encompassed what I wished to express through my work, a melody in nature’s symphony.
What’s the theme/focus behind it?
‘ Women have always been the guardians of wisdom and humanity which makes them natural, but usually secret, rulers. The time has come for them to rule openly, but together with and not against men.’ – Charlotte Wolf
The theme for the exhibition looks at nature as the backdrop for the exploration of feminine archetypes and endurance throughout time. As I believe that our planet is having a rebirth of the feminine. We have been living in a patriarchal society for the past 3000 years and although we have had some incredible advancement we are now in need of a big change, which is beginning to happen. I feel that we need to encourage guardianship of the Earth and for us to realign with the natural cycles rather than go against them.
What was the inspiration behind your new projects?
I have drawn from different sources for my work, which have either been from songs that I have been listening to or books that I have been reading such as ‘Women that run with wolves’ which inspired me to create
‘The Handless Maiden’ or from the use of tarot cards which led me to create ‘ The Empress’ featuring Flo Morrissey or looking at the chaos around me after the Paris attacks all of this past year and seeing the pain and destruction in the world led me to create ‘War In Heaven’.
Your new works position models in the natural setting. Women look unprotected to the natural forces. What notions are you trying to raise in your work?
I love nature and all that it provides us with but I also respect it as it can be destructive and catastrophic in some cases. I feel that we are lucky to be here, it is a gift not a given. I think a lot of people have forgotten this and try to manipulate something much greater than we have been led to believe. Through my work I try to explore the harmony between the two. Yet the insignificance of our presence, how temporary it is in the scheme of things, overwhelms me at times and I am reminded that it is a miracle.
Who are your models?
I usually choose models for my own work that inspire me. I like working with people I know mainly as I find there is a relaxed energy when taking photographs. I photographed Macha Polivka, an amazing healer and actress who I met outside of Paris last summer at an ashram. She is very natural and beautiful. I found working with her an absolute joy as she was completely in her body. Xamira Azul I met through my good friend and fellow artist Amanda Charchian last year during a summer solstice ritual and we have become friends ever since.
Flo Morrissey is one of my best friends whom I met through World Wide Women when she performed at our Ritual Exhibition. Last year she moved to Paris, which has been a dream world for us to share. Over the past couple of years we’ve had ongoing projects together. She is also extremely adventurous! Last year we were in Ibiza and I had a whole vision of her inside this remote cave. At first she looked at me as if to say ‘really?’ but once I told her of my idea she climbed up and took position. She looked like a water goddess.
How do you choose location and subject of your work?
Usually I have an image in mind of what backdrop I would like for the photograph and then I either research a place to shoot or I stumble across something even more magical than I could have pictured. Usually choosing the subject and location come hand in hand.
Why did you decide to have your second solo show specifically in London?
I choose to have my second solo show in London as it’s where I grew up and felt that it was important for me to return to my roots. My family is from England and even though I live in Paris there will always be a part of me there.
You mostly photograph female models, why?
I mainly photograph women because I find them fascinating. The form and curve of a woman is much more interesting to me than men. There is a mystery to them that when photographed can capture a very vulnerable moment that I think only is expressed by a woman photographing another woman. A trust is formed between the two people.
How do you balance the intrinsic nature of your work with the commercial aspect of photography?
I think when you create work it should come from a place of integrity and truth. How one conducts themself is equally important. I feel that nature and beauty are two things that everyone should be exposed to as so many people live their lives in fear without hope of a brighter future. I think that offering work to inspire people as an alternative for the future is what we are in desperate need of. I am not saying that my work does this but I try to convey a message of hope and awareness of our mother earth and all her many gifts.
I use social media and I think the more people who can see ones work is always a positive if the message is truthful. Even if it affects just one person that is enough for me as one person can have a ripple effect.
What’s next for you?
I am creating a short film with a dancer in the Fall and I will be continuing shooting the ‘War In Heaven’ series as I wish to turn it into a book, as well as working on my installation room ‘ I Am The Other You’.
I will also be doing editorial work.
Uni~Verse on view at the Palm Tree Gallery September 16th – October 8th
291 Portobello Rd, London
September 2, 2016
Inclusivity vs. exclusivity and talent vs. elitism are some of the core values of The Unit London Gallery, located on the trendy Wardour Street. Continuing with their goal of bringing real talents closer to the public, the gallery is proudly presenting the first major London exhibition of Jake Wood-Evans, a Hastings-based artist whose works evoke faded memories and spectres of a past time, and often depict disintegrating and dissolving entities.
Born in Devon in 1980, Wood-Evans studied Fine Art at Falmouth University and was subsequently awarded a scholarship from the Royal Academy to study at the Prado Museum in Madrid. Previously based in Brighton, he currently lives and works in Hastings. Very attached to the paintings that inspire him, Wood-Evans does consider himself a figurative painter, and I would also call him an educator.
This exhibition, entitled Subjection & Discipline, not only introduces Wood-Evans’ work, but also that of the two painters who inspire it: Joshua Reynolds (1723-1792) and Henry Raeburn (1756-1832). Taking inspiration from 18th-century painters, Wood-Evans’ unique, historically ambiguous style produces images that are both unsettling and beautiful. Stressing the complexity of the feelings that his referents arise in him, he adds a new layer of heavier sensations and understanding to those paintings. He blurs the boundaries of figurative painting and drawing, creating a sort of beautiful accident that has a framed purpose.
“Faces are defiled and figures appear as apparitions. Subjects range from a ghostly vision of a society lady to a fading portrait of a once proud general and grotesquely disfigured admiral. Viewed together, the body of work is eerily reminiscent of an art collection of a great estate in the early years of the British Empire, but while the haunting redactions of once-heroic subjects might suggest the correcting gaze of a postcolonial sensibility, Wood-Evans’ interest lies more with the original artists and process than with the specific subject.” (The Unit London)
As I slowly walked from the first to the last painting, I felt as if the past had been affected and infected with scratches of present time. The figures in the artworks seem to be fading under the surface, as if paint wanted to hide information from the human gaze. “Eighteenth Century Ship II” and “Eighteenth Century Ship III” are the only non-human figures invaded by a human tool. Perhaps because the sea carries the present and the past, without contradictions, just like art does.
“Portrait of a Woman in Red” almost transcends into reality and exudes the perfume of elegance, flesh, reality and oil paint. The past is alive and tangible in Wood-Evans’s paintings. My favorite was “Lady Bampfylde, after Joshua Reynolds”, but the one that most impressed me was “Lady Skipwith”, after a portrait by the same painter. Romanticism seemed macabre for a moment, and the present was, indeed, nothing but a scribble of the past.
By scrubbing, scratching and erasing certain areas while building up others, Wood-Evans’ paintings are physically pushed and pulled out of the canvas. Thick layers of paint contrast with saturated oil on canvas, often laying the grain bare. His powerful use of light emerges from a loose and instinctive application of paint. Each work bears the marks of his journey and are just as fascinating when viewed up close as they are when viewed in their entirety. Wood-Evans’ haunting works are both reminiscent of the pillaged originals while uncovering a psychological depth which encourages the viewer to look beyond the surface of the canvas and question the records of history.
Jake Wood-Evans. Subjection & Discipline. The Unit London Gallery. 19 August-11 September 2016. Monday-Sunday, from 11am to 7pm.
September 1, 2016
As back to school approaches, Art Versed explores the most prestigious and popular MFA programs in the U.S. Whether you’re thinking about returning to school or graduating this year and planning for the future, these programs will certainly guarantee artistic success. A mixture of Ivy League classics and schools specializing in art and design make the list, allowing for artists to choose the school environment best for them.
Yale University— The classic dream school, Yale’s MFA program is incredibly impressive and popular, with notable alumni such as Eva Hesse and Chuck Close. This three year program is especially known for their graphic design and photography programs, proclaimed as the best in the country. The program is also very strong for sculpture, painting and printmaking. Like all Ivy League schools, the prestige that accompanies the Yale name comes at a cost, specifically $33,500 a year. However, with its distinguished faculty and alumni, the connections built within the Yale artistic community, as well as addition of the powerful name Yale to your CV, are worth every penny.
Columbia University of the City of New York— Another Ivy dream school, Columbia provides the beautiful traditional campus of an ivy league school in the heart of NYC, allowing students to explore the diverse cultural scene. Columbia’s MFA is incredibly selective, claiming an admissions rate of only 2%. Columbia also offers a speciality in “new genres” such as Sound Art, setting it apart from other MFA programs. Like Yale, this 2 year ivy program boasts an impressive list of faculty and alumni such as Jon Kessler, Georgia Sagri, Guy Ben-Ner, Lisi Raskin, but also comes with the hefty price tag of $51,676.
The School of the Art Institute of Chicago— Focusing mainly on new media and the intersection of art and technology, SAIC offers a special program in film/video/new media and Sound art, as well as an MA in Visual and Critical Studies, which combines visual art and art theory. The SAIC alumni could not possibly get more impressive, so if you want to wander the same halls once populated by Georgia O’Keeffe, Grant Wood, Claes Oldenburg, and Jeff Koons this is the school for you. Part of the Art Institute of Chicago, and located in the heart of the city, SAIC also provides an opportunity for students to explore the museum’s collection and the city’s art scene. The powerful alumni and great location tip the scales against the school’s big sticker price of $44,010. However, SAIC is known to give a substantial amount of grants and student funding.
The School of the Museum of Fine Arts Boston— This artist founded institution was established in 1876 and is run through Tufts University in partnership with the MFA Boston. Students here have the unique and incredible opportunity of exhibiting their work at the MFA Boston during their 2 years at SMFA. This tiny, (less than 200 students per year) interdisciplinary program, attended by the likes of Jim Dine, Nan Goldin, and Ellsworth Kelly, prominent reputation can perhaps justify the price of $39,020.
Rhode Island School of Design— Compared to some of the previous programs discussed, which combine technique with academic study, RISD stresses technical elements of artistic craft. Offering specialties in a huge variety of areas, RISD is the school for the artist’s artist, looking to work hard. Unlike many of the programs on this list at large universities, RISD has less than 400 graduate students in total, and the average class size is only 11 students. The program can be completed in anywhere between 1-3 years, which could make the price of $42,622 more manageable if you’re able to finish in just one year. Incredible alumni such as Andrea Zittel, Jenny Holzer, Kara Walker certainly bolster the school’s prestige.
Bard College— This tiny school located in Annandale-on-Hudson in upstate New York, offers a unique system allowing students to complete their MFA in three summer sessions and two independent-study sessions, allowing students to also work on building their portfolios while completing their degree. Many of Bard’s alumni return to teach classes, so students may have the chance to study with Amy Sillman, Paul Chan, Carolee Schneeman, David Horvitz, Herb Ritts, or Rachel Harrison at some point during their time at Bard. The chance to study with any of these greats, as well as work in an untraditional setting balances out the sticker shock the accompanies the $55,000 price tag.
Pratt School of Design— Pratt offers its students some of the best and most extensive resources of the schools on this list. With wood, metal, and print shops, as well as ceramics studios and darkrooms, students students have access to a wide variety resources as well as exhibition space in Pratt’s own gallery spaces. If these resources don’t speak for themselves, the extensive list of successful Pratt alumni will, such as Robert Mapplethorpe, Felix Gonzalez-Torres, Mickalene Thomas, and Roxy Paine. All of these resources and prestige come at the lowest price of any of the schools on our list, $28,308 annually.
School of Visual Arts (SVA)— Excelling in the specialities of media arts, such as Computer and video art, as well as the more “traditional” media of painting and sculpture, SVA provides students with all the wonderful opportunities of going to school in NYC at a slightly lower price than Columbia– a refreshing $36,130. Despite its smaller price tag, SVA still boasts an incredible list of alumni such as Keith Haring, Sarah Sze, and Sol LeWitt. Also worth noting, SVA also offers a program called “visual narratives” which combines visual arts and creative writing.
Savannah College of Arts and Design— Heading South, the Savannah College of Arts & Design offers the largest variety of programs of any school specializing in art and design. Interestingly, many of SCAD’s programs are also available for completion online. With renowned faculty and alumni, many of which focused in photography and graphic design, SCAD provides great opportunities and resources in the charming city of Savannah for their students, at the slightly lower price of $34,250 annually.
CalArts— Transitioning to the West, CalArts is known to be “the best” visual arts program on the west coast. It’s location in sunny Valencia, California means that it has connections to the film and media industries of Hollywood, which are good for post-grad professional opportunities and connections. If alumni such as Mike Kelley and Jack Goldstein aren’t enough to sell you, maybe the fact that the school was “founded” by none other than Walt Disney will be enough to convince you CalArts is the place for you. However, all that sunshine and prestige comes at the expensive price of $41,700 a year.