Showing posts with label ra. Show all posts

Saturday, 27 May 2023

Sacred Meetings and Near Thursbitch

Sacred Meetings - paintings by Greg Tricker is at Marylebone Theatre until 3 June 2023. Sacred Meetings is an exhibition of the work of Greg Tricker. Greg is a stone carver and painter. He was born in London in 1951. Deeply inspired by Vincent Van Gogh in the early years, he later developed his own unique style of painting on the Isles of Sicily. He trained as a monumental mason and now lives in the Cotswolds and teachers at the Ruskin Mill Centre.

His profound and simple style of paintings follows in the mystical and sacred tradition of art akin to the work of Rouault and Cecil Collins. Qualities of myth, echoes of the Folk Art Spirit and element of the circus feature in his work, which he presents in themes; he has produced a number of themed exhibitions, notably Paintings for Anne Frank (exhibited at Peterborough Cathedral and St Clement Danes, London), The Catacombs and recently Francis of Assisi exhibited at Salisbury Cathedral and Piano Nobile Gallery, London.

Peter S. Smith RE, wood engraver, was drawn to Jenkin Chapel near Thursbitch, high in the hills of the Peak District, by the story of a curious memorial stone, and that stone is the subject of a new booklet Near Thursbitch. Peter tells his story and shows his boxwood engraving of the stone, an oblique tale and an oblique engraving. It is shown as the centre of the trifold, the text from the two faces of the stone holding his engraving, in their grip.

Near Thursbitch has been published by Incline Press, which celebrates 30 years of printing books and ephemera in November 2023. Proprietor, printer and binder Graham Moss, has published over 120 limited edition books in traditional private press fashion. A true craftsman, he carefully chooses the metal type, paper and binding for each of them, creating a beautiful collection of sought-after work.

Near Thursbitch is set in 16 point type, designed by the calligrapher Alfred Fairbank in 1929; the cut lettering is represented by Russell Maret’s Baker, issued in 2016, also used as the titling fount. The wood type on the cover is from Stephenson Blake. Printed on 170gsm Zerkall paper, hand sewn with linen thread into a cover made by Papeterie St-Armand in Montreal. The edition is of 160 numbered copies, £36 including UK postage. Each copy is signed by the author/engraver.

Peter S. Smith RE, former head of the school of Art, Design and Media at Kingston college, is a member of the Society of Wood Engravers, and a Fellow of the Royal Society of Painter-Printmakers. He has paintings and prints in public and private collections including Tate Britain, the Ashmolean, the Fitzwilliam and the British Museum. In September 2006 Piquant Editions published a book about his printmaking ‘The Way I See It’ with an introductory essay by Calvin Seerveld. He currently has a studio at the St. Bride Foundation, London, where he also teaches wood engraving workshops.

Peter currently has work in the RE Originals exhibition at the Bankside Gallery and will have a piece in the RA Summer Exhibition.

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Bruce Cockburn - O Sun By Day, O Moon By Night.

Saturday, 22 June 2019

RA Summer Exhibition

Run without interruption since 1769, the Summer Exhibition at the Royal Academy of Arts is the world’s largest open submission art show and brings together art in all mediums – prints and paintings, film, photography, sculpture, architectural works and more – by leading artists, Royal Academicians and household names as well as new and emerging talent.

This year, acclaimed British painter Jock McFadyen RA takes the mantle from Grayson Perry to co-ordinate the 251st Summer Exhibition. Over 1,500 works are on display, most of them for the first time. Highlights include an animal-themed ‘menagerie’ in the Central Hall, with works by artists including Polly Morgan, Charles Avery, Banksy and Mat Collishaw. Artist sisters Jane and Louise Wilson RA have curated two galleries, one of which showcases work exploring light and time. Further artists exhibiting include Jeremy Deller, Marcus Harvey, Tracey Emin RA, Frank Bowling RA, Antony Gormley RA and Honorary Academicians Anselm Kiefer, James Turrell and Wim Wenders.

Outside the galleries, international artist Thomas Houseago has taken over the RA’s courtyard with a group of large-scale sculptural works, and the exhibition spills out into nearby Bond Street with a colourful installation of flags featuring work by Michael Craig-Martin RA.

In addition to the above check out the following:

'Agony in the Garden', 'Death of the Virgin', 'Deposition' and 'The Visitation' by Paula Rego;
'Rachmaninoff. Piano Concert No. 2' by Alexander Mochalov;
'Three Paper Darts' and 'All The Tape Left Over From My Last Painting' by Alastair Gordon;
'Passing By' and 'Across The Station' by Peter S. Smith; and
'Blues' from the Series 'Song of Solomon' by Clack & Cargill.

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T Bone Burnett · Jay Bellerose · Keefus Ciancia - A Man Without A Country (All Data Are Compromised).

Sunday, 13 January 2019

Artlyst - Bill Viola And The Art Of Contemplation

In my latest feature article for Artlyst I explore the extent to which Bill Viola’s works, which can be seen at the Royal Academy from 26 January alongside drawings by Michelangelo, reveal the essentially contemplative nature of art and of the viewing of art.

In the piece I explore Viola's use of slowness, stillness, silence and sacrament noting that prayer and meditation in religious traditions also use these same elements suggesting that there is potentially much fruitful exploration possible between the forms of contemplation found in the Arts and in religion:

'Viola has said that the form his interest in the spiritual side of things has taken has been, in a tranquil way, to merely look with great focus at the ordinary things around him that he found wondrous. His works ask us to do the same.'

My other Artlyst articles and interviews are:

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Paul Weller - The Soul Searchers.

Saturday, 13 January 2018

Artlyst: St James Piccadilly - a series of innovative and provocative art installations

For my latest article for Artlyst I visited St James Piccadilly and saw work by Clinton Chaloner, Arabella Dorman and Emily Young:

'St James Piccadilly is one of the best loved churches in London. The congregation describe themselves as seeking to be inclusive, welcoming and adventurous, while their Rector, Revd Lucy Winkett, Chaplain to the Royal Academy of Arts, suggests that the ‘ungovernable and wholly independent spiritual reality that Christians call God, the generative presence that underpins the universe is the same spirit that inspires and invigorates the artist inside all of us who will not be told what to do or what to believe and who treasures our most precious human characteristic; imagination.’

As a result, it is no surprise to find the Arts as a significant contributor to the ministry which is undertaken in and from St James’ or to find that it has been the location for a series of innovative and provocative art installations, often during the major Christian festivals. I visited recently to see their latest installation, Suspension by Arabella Dorman, but their commitment to visual art is such that it was also possible to see the rawest set of nativity figures I have ever viewed and eight massive masterfully mysterious stone heads by Emily Young.'

My other Artlyst articles are:

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Luke Sital Singh - 21st Century Heartbeat.

Sunday, 9 July 2017

Beyond Airbrushed from Art History: Religion & Spirituality - National Gallery of Jamaica

To explore the background to Jamaican Spiritual at St Stephen Walbrook, it is well worth reading posts from Religion and Spirituality at National Gallery West, the Montego Bay based extension of the National Gallery of Jamaica:

'Visual expressions have been an integral part of many religious and spiritual practices on the island and this has in itself produced some of the most outstanding examples of Jamaican art. The work of artists such as Mallica ‘Kapo’ Reynolds and Everald Brown was, for instance, directly linked to their role as religious leaders, in Zion Revival and religious Rastafari, respectively, and included the production of sacred objects and images.

Much of the art in this exhibition was intended as religious art by its makers and includes some of its main exponents – such as Kapo, Osmond Watson, Carl Abrahams and Everald Brown – but most of these artists have also been drawn to the subjects of religion and spirituality from a more secular point of view, for instance as part of the search for iconic Jamaican subject matter. The exhibition also includes examples of work that uses religious iconography as a metaphor to address other non-religious issues, whether personal or social. Eugene Hyde’s Good Friday (1978), for instance, was part of his Casualties series, which provided a scathing commentary on the socio-political turmoil of the late 1970s and its devastating effects on the disempowered in society.

Given the hegemonic and counter-hegemonic roles of religions and spirituality in Jamaican history and life, it is indeed impossible to separate religious, spiritual and secular concerns and much of the art in this exhibition is deeply political, in that it questions and actively challenges racial hierarchies and power dynamics. Religion and its strictures, practices and social implications have been critiqued by certain artists and sometimes provocatively so. One such example is the work of Omari Ra, who has consistently questioned what he views as the oppressive nature of conventional, “white” religion by combining religious imagery with representations of weaponry, aggressive caricature, and inflammatory graffiti. Others have brought a less politicized satirical perspective to the subject, such as the irreverent portrayals of religious histrionics in Carl Abrahams’ Hallelujah, Hallelujah, Hallelujah (c1965), Backyard Preacher (c1975) and, to some extent, also in the Visionary World of Marcus Garvey (1976), although it should be noted that the same artist has also produced some of the most moving and deeply felt religious works in the exhibition.'

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Neesha Woodz - So Amazing.

Friday, 23 June 2017

Spiritual Jazz now and then

Colin Marshall writes that 'Jazz has inspired a great many things, and a great many things have inspired jazz, and more than a few of the music's masters have found their aspiration by looking — or listening — to the divine.'

He quotes Andy Beta who noted that: 'This culminated in John Coltrane's masterpiece A Love Supreme, which opened the gates for other jazz players seeking the transcendent, using everything from "the sacred sound of the Southern Baptist church in all its ecstatic shouts and yells" to "enlightenment from Southeastern Asian esoteric practices like transcendental meditation and yoga."'

'It goes without saying that you can't talk about spiritual jazz without talking about John Coltrane. Nor can you ignore the distinctive music and theology of Herman Poole Blount, better known as Sun Ra, composer, bandleader, music therapist, Afrofuturist, and teacher of a course called "The Black Man in the Cosmos." NTS' expansive mix offers work from both of them and other familiar artists like Alice Coltrane, Earth, Wind & Fire, Herbie Hancock, Gil Scott-Heron, Ornette Coleman, and many more (including players from as far away from the birthplace of jazz as Japan) who, whether or not you've heard of them before, can take you to places you've never been before.'

Steve Huey adds that 'Albert Ayler conjured otherworldly visions of the spiritual realm with a gospel-derived fervor.' Jaimie Dougherty expands by saying: 'It’s no secret that Ayler’s ecstatic style of play was informed by his Christian spirituality (however unorthodox it may have later become), and many critics in the ’60s compared Ayler’s style to speaking in tongues. Ayler’s style is expansive—he finds power in fiery arpeggios running across tonal boundaries, notes drawn to time-stretching length, and pushing the timbre of the saxophone into strange new territory. Similarly, Peacock and Murray explore on Spiritual Unity the limits of their instruments, and the limits of rhythm and time. It’s at these limits that they manage to suggest both eternity and a kind of time-rootedness or temporal contingency.'

Spiritual Jazz continues to inspire the likes of Denys Baptiste, Martyn Halsall and Dwight Trible:

'The Late Trane is the powerful and commanding new album from British saxophonist Denys Baptiste, a giant of the UK jazz scene. Reimagining and reworking ten carefully chosen composition from John Coltrane’s late music (from 1963 – 1967) with a fresh and modern new interpretation, The Late Trane perfectly balances Denys Baptiste’s unique artistic vision with the visceral emotions and cosmic references that encompasses Coltrane’s late music.

The later works of John Coltrane, preserved in both studio and enigmatic live recordings were some of the most emotional and spiritually charged music of the 20th Century. Written at a time of tumultuous change in America and the world: the civil rights and anti racism movement, the Vietnam war, the peace movement and space exploration inspired a great flow of creativity of which Coltrane was at the heart. As Denys explains: ‘John Coltrane continues to be one of my most important influences and his late period has always intrigued me and has stimulated my work over many years. To play this music, with these incredible musicians alongside me is hugely inspiring’.

During the mid to late 60’s, John Coltrane’s music was inspired as much by the spiritual as the cosmic and a series of ground-breaking studio albums marked the last phase of his musical odyssey. Crescent, Ascension, Interstellar Space, Meditations, Om and Sun Ship all exemplified this period of explosive creative growth, where the boundaries of jazz were shifted forever.'

'Manchester based trumpeter, composer, arranger and producer Matthew Halsall has carved out a unique niche for himself as both a band-leader and producer delving deeply into the worlds of spiritual jazz and string-laden soul. His latest project finds him playing with and producing the legendary LA jazz singer Dwight Trible, who first came to international renown with his 2005 Ninja Tune release Love Is the Answer. Trible, whose deeply soulful voice has seen him compared to Leon Thomas and Andy Bey, has worked with the likes of Pharoah Sanders, Horace Tapscott and Kamasi Washington (he sings lead vocals on the Epic) and brings a deep-rooted soulfulness to everything that he sings. Halsall and Trible first met at the Joy of Jazz Festival in South Africa back in 2015, when a chance encounter backstage led to Trible sitting in with The Gondwana Orchestra for an impromptu reading of the classic Pharoah Sanders and Leon Thomas anthem 'The Creator Has A Master Plan', and a lasting friendship and respect for each others music was born.

The relationship started to bear fruit in July 16, Trible was performing at the North Sea Jazz Festival and Halsall invited him to guest with him at a memorable show at the, newly re-opened, Jazz Café in London. A recording session at 80 Hertz studios in Manchester followed, providing two tracks that feature here: The timeless standard I Love Paris, and the traditional spiritual Deep River, featuring Halsall regulars pianist Taz Modi, bassist Gavin Barras and drummer Luke Flowers. Inspired by what he heard Halsall offered to produce a Dwight Trible album for his Gondwana Records imprint. Together they selected some of their favourite songs and in November last year they went into Fish Factory Studios, London with new recruit Jon Scott taking the drum chair. They recorded an impassioned reading of Donny Hathaway and Leroy Hutson's classic Tryin' Times (a song as sadly relevant today as it was in 1970), a vibrant, soulful version of the Nina Simone smash Feeling Good and a beautiful take on the timeless Bacharach classic What The World Needs Now Is Love featuring harpist Rachael Gladwin. They also laid down two spiritual jazz masterpieces, a powerful re-working of Dorothy Ashby's Heaven and Hell (from the legendary The Rubiyat of Dorothy Ashby album) and a heartfelt version of Coltrane's beautiful ballad Dear Lord, with lyrics by Trible. Lyrics that have an extra poignancy after they received praise from none other than Alice Coltrane, who heard Trible perform his version of the song shortly before her passing.'

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The Bobby West Trio & Dwight Trible - In The Beginning, God.

Sunday, 23 October 2016

Paul Nash and James Ensor

Paul Nash opens at Tate Britain on 26 October. Paul Laity has an excellent piece in The Guardian on Nash and his work:

'Nash’s transformations of reality were the product of a visionary sensibility that harked back to William Blake and Samuel Palmer; he searched for inner meanings in the landscape, what he called the “things behind” ...

he was caught up, as ever, in looking at the world and seeing patterns and mysterious “things behind”. An artist both full of wonder and wonderful, knowing the end was near, painted pictures that were stranger than ever.'

Paul and Margaret Nash practiced Christian Science, and Paul shared a Christian Science practitioner with Barbara Hepworth and Ben Nicholson. Hepworth, Nicholson and Winifred Nicholson were profoundly influenced by Christian Science (a faith that was of great importance to Stanley Spencer’s wife, Hilda Carline).

For Intrigue: James Ensor by Luc Tuymans at the Royal Academy of Arts from 29 October 2016 — 29 January 2017, Tuymans, a fellow Belgian and admirer of Ensor, will look back at Ensor’s singular career through a selection of his most bizarrely brilliant and gloriously surreal creations.
Astrid Schenk has written that

'It was 1888 when James Ensor began work on his monumental painting Christ's Entry into Brussels in 1889. The painting would become one of his most iconic and eagerly analysed compositions, and is now regarded as a milestone in the history of modern art. Not surprisingly, perhaps, it has also encouraged art historians to take a closer look at the representation of religious subject matter in Ensor's oeuvre in general. The focus of this scholarly attention has been mainly on Ensor's various approaches to the Crucifixion (especially the grotesque or sinister elements in some of his renderings), as well as on the series entitled The Aureoles of Christ or the Sensitivities of the Light, which Ensor first exhibited in 1887, and on different versions of The Temptation of Saint Anthony, Abbot of Egypt ...

The size of his religious oeuvre, the great variation in religious subject matter, and the fact that he continued throughout his life to produce religious work are strong indications that, to Ensor, religious sources of inspiration were key to achieving his artistic goals. This relevance went well beyond the supposed identification of the artist with the suffering of Christ and the exploration of particular visual effects. Ensor borrowed from the Christian iconography in order to be able to visualise his ideas in a recognisable idiom and to conduct visual experiments in his quest for exaltation.'

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Gungor - You.

Sunday, 26 July 2015

Joseph Cornell: Aesthetic experience as a manifestation of spirit

'From a basement in New York, Joseph Cornell channelled his limitless imagination into some of the most original art of the 20th century.'

'Wanderlust at the RA brings together 80 of Cornell’s most remarkable boxes, assemblages, collages and films, some never before seen outside the USA. Entirely self-taught, the independence of Cornell’s creative voice won the admiration of artists from Marcel Duchamp and the Surrealists, to Robert Motherwell and the Abstract Expressionists, with echoes of his work felt in Pop and Minimalist art.

Wanderlust is a long overdue celebration of an incomparable artist, a man the New York Times called “a poet of light; an architect of memory-fractured rooms and a connoisseur of stars, celestial and otherwise.”'

When he was in his twenties, Joseph Cornell learned about Christian Science and became a devout follower of the religion, as he believed it had cured him of recurring stomach ailments.

Richard Vine notes that 'the teachings of Christian Science and membership of the Christian Science church "provided Cornell ... with a clarity essential to his sanity and his art - the certainty, despite everyday trials and confusions, of ultimate cosmic harmony within the all-encompassing Mind of God."'

Sandra Leonard Starr writes that Cornell 'begins with the finite reality of the object, proves the unreality of it and our seeing it as such, and arrives at a statement of aesthetic experience as a manifestation of spirit.'

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Al Green - How Great Thou Art.

Saturday, 6 June 2015

Exhibitions update

Hide and Seek, coincides with the publication of a monograph celebrating Eileen Cooper’s career, and presents drawings spanning almost 40 years. Cooper creates work that possesses a strongly poetic and distinctive vision, and the artist has been described as a ‘magical realist’. An accomplished painter and printmaker, Cooper’s practice has always been underpinned by drawing. This remarkable body of work illustrates how her distinctive imagery has developed through making drawings that explore such subjects as sexuality, birth, family, fecundity and creativity.

Cross-sensory perception quickens and multiplies in Smell of First Snow, Shirazeh Houshiary’s eighth exhibition at Lisson Gallery. Through painting, drawing and sculpture, Houshiary approaches the intangible and evanescent, articulating a metaphysical reality that lies beyond mere form and surface.

Peter Kennard is Britain’s most important political artist whose imagery has become synonymous with the modern protest movement. The first major retrospective of his work at the Imperial War Museum demonstrates how Kennard has consistently confronted issues in world politics and British governmental policy both at home and abroad, inspiring many of today’s politically-aware artists from Mark Wallinger to Banksy.

Marking thirty years since his first solo exhibition at Flowers Gallery, former official British War Artist John Keane presents a new series of paintings on the themes of power and conflict - Speaking Truth to Power at 21 Cork Street. Keane’s work has been engaged in a dialogue with unfolding news stories since the 1980s, travelling overseas to witness conflicts first hand. His work challenges received wisdom and explores alternative narratives to those exerted by the press - from his representation of the atrocities of war, to his portraits of the people made powerful by their place in and behind the media spotlight. The Wisdom of Hindsight is a retrospective of Keane's work at 82 Kingsland Road.

Zi Ling is a visual artist currently based in Beijing and London, working in watercolour, etching, short film and installation, who has work in the Society of Women Artists 154th Annual Exhibition at Mall Galleries. Following this show will be the New English Art Club Annual Open Art Exhibition 2015 which showcases the work of some of the finest figurative painters at work today, members’ paintings, drawings and original prints are shown alongside work selected from the open submission.

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Lenny Kravitz - Let Love Rule.

Monday, 13 October 2014

Manessier and Keifer: Spirituality, revelation and religious affiliation

The latest ArtWay meditation is about Alfred Manessier’s The Passion According to Matthew. Jérôme Cottin writes that ‘During World War II he went through a double conversion: to Christianity and to non-figurative art. Actually it was the first that led to the latter. Manessier came from a non-believing family. He turned to the Christian faith in September 1943, when he heard a choir of monks sing the Salve Regina in the Trappist monastery of Soligny.’

Cottin notes that Manessier ‘belongs to the rare group of artists who were well-known internationally as well as sincere believers.’

Interestingly, Kathleen Soriano writes, in the catalogue for Anselm Keifer’s RA retrospective, that Keifer also had a revelation whilst at a monastery: ‘During a trip in 1966 to La Tourette, the Dominican monastery designed by Le Corbusier near Eveux, in eastern France, Keifer spent three weeks in a cell meditating on the fundamental questions of life. It was at La Tourette that he ‘discovered the spirituality of concrete’.

In contrast to Cottin, Soriano notes that ‘The search for transcendence, the connection between heaven and earth, God and man, lies at the heart of Keifer’s oeuvre, despite the fact that he would not consider himself a religious man.’

While both are, no doubt, factually correct in articulating the personal stances on faith of these two artists, it is interesting to consider why it is important to both writers to mention these specifically.

Tyler Green has written of ‘the art world’s indifference toward religion’, James Elkins of the strange place of religion in contemporary art and Dan Fox has stated that religious art ‘when it’s not kept safely confined within gilt frames in the medieval departments of major museums, is taboo.’

Rob Colvin writes that:

‘The close relationship that art and religion maintained for several millennia has in recent decades eroded so drastically that it’s difficult to imagine fine arts and contemporary religion having anything in common. Art is, on the whole, a secular enterprise, and religion is frequently more anesthetic than aesthetic in character. The two worlds happily foster vulgar understandings of each other almost to a point of pride. Some might even suggest that adherence to one entails a rejection of, or at least critical distance from, the other.'

Benedict Read in his 1998 lecture to the Royal Society of British Sculptors noted that following the Second World War: “Churches were being repaired. New work was being installed in them. There was an expansion of church buildings with works of art in them … There is an alternative world there of the commissioning of art for specific purposes that, with no disrespect to established art historians, simply doesn't feature in our notion of cultural history in the post-war period.”

Fox suggests that art about religion is totally kosher however; as are: “modernist dalliances with spiritualism;” the “obsessive cosmologies and prophecies” of ‘visionary’ or ‘outsider’ artists; and “a little dusting of Buddhism or Eastern philosophy.” But, “contemporary artists who openly declare affiliation to Judaeo-Christian or Islamic religions are usually regarded with the kind of suspicion reserved for Mormon polygamists and celebrity Scientologists.” David Morgan has explained this phenomonen by suggesting that, "Moving through the discourse of Modernism in art was a dominant conception of the sacred, one which distanced art from institutional religion, most importantly Christianity, in order to secure the freedom of art as an autonomous cultural force that was sacralized in its own right."

Why is the art world wary of religion? Fox gives five reasons:

1. “For most of the 20th century, art aligned itself with progressive rationalist secularity and radical subjectivity; the ideas that have fed into art come from modern philosophy, liberal or radical politics, sociology and pop culture rather than theology.”

2. “It’s also a question of finance: the money that funds art doesn’t come from churches or religious orders like it did hundreds of years ago.”

3. “Religion is broadly seen by many progressive thinkers to be a cause of intolerance and war.”

4. “The early 21st century has been characterised by a dangerous return to faith-based political conviction, be it radical Islam or neo-conservative fundamentalist Christianity, neither of which has much sympathy for cutting-edge art or ideas.”

5. “Also, religious organisations aren’t, of course, exactly known for their forward thinking attitudes to women or sexuality: the moral teachings of many religious denominations can be at odds with the ways artists want to live their lives.”

Keifer fits this thesis well and Soriano is also thinking within it when she writes that he ‘would not consider himself a religious man.’ In his 2011 Guardian article A Life in Art: Anselm Keifer Nicholas Wroe wrote:

‘Although his move to France coincided with an intensified investigation of myth and religion in his work, Kiefer is no longer a practising Catholic, but acknowledges that "even people who seem not to be spiritual still long for something; I'm sure this is the reason we have art and poetry. I think without spirituality we cannot live, and in this respect the best religion is Hinduism, which teaches that each religion can contain some little truth. Art is an attempt to get to the very centre of truth. It never can, but it can get quite close. It is the dogmatism of the church, the idea that words can express a single truth over hundreds of years, that is complete nonsense. The world changes. Language changes, everything changes. Paintings certainly change.’

Cottin, however, has studied the relationship of modern art to Christianity in the French-speaking world, writes regularly about Christianity and art, edits the website www.protestantismeetimages.com, and is ‘a Calvinist who is at pains to justify the importance of visual theology to the Protestant world.’ As a result, his focus is on those who either belong ‘to the rare group of artists who were well-known internationally as well as sincere believers’ or have produced significant examples of modern religious art. His book La mystique de l’art: Art et christianisme de 1900 à nos jours accordingly features in-depth studies of the work of individual artists such as Gauguin, Ensor, Arnulf Rainer, Picasso, Schmidt-Rottluff, Rouault, Chagall, Bacon, Jawlensky, Manessier, Nolde, Richier.

Both are correct but from different perspectives. Soriano writes of religious affiliation from within the viewpoint of the mainstream art world, while Cottin, from his perspective outside that world, focuses attention on those artists who have expressed religious affiliation within the mainstream art world. The story of religious art in the twentieth century is but one story among many in modernism. However the historical accuracy of the history of modernism can be enhanced through the telling of that tale in a way that refuses to see the predominant separation between art and institutional religion (Christianity, in particular) as being the only game in town.

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Van Morrison - In The Garden.

Saturday, 13 September 2014

Anselm Keifer and Barjac

There is considerable anticipation of the Anselm Keifer retrospective to be held at the Royal Academy of Arts shortly. The Guardian has an interesting article today about Barjac, the home and studio complex near Nîmes in the south of France, to which Keifer moved in 1992. Michael Prodger writes of Keifer's, 'vast pictures, thick with paint and embedded with objects from sunflowers and diamonds to lumps of lead, nod to the Nazis and Norse myth, to Kabbalah and the Egyptian gods, to philosophy and poetry, and to alchemy and the spirit of materials' and suggests that 'the Kiefer worldview is best seen at La Ribaute, his 200 acre compound near Barjac.'

The first work by Kiefer that I saw was his Palmsonntag or Palm Sunday Artist Room at Tate Modern. I was so moved by this piece that I wrote a meditation based on notes and impressions that I jotted down while in the room itself.

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U2 - Every Breaking Wave.

Tuesday, 22 July 2014

Out and About

One Equall Light was an exhibition themed on the “Sermons and Holy Sonnets of John Donne” was held from 30th June - 20th July, 2014 at St Giles, Cripplegate and St James, Piccadilly. Christian Arts collaborated with Art and Christianity Enquiry on the exhibition organisation and the ACE International Conference was held during the beginning of the exhibition period. The exhibition coincided with the City of London Festival. The exhibition included selected work from Christian Arts members and work from invited artists, Susie Hamilton at St. James and Margot Perryman at St. Giles. Link to the exhibition catalogue here - Catalogue. I attended Sam Wells' talk on 'Art and the Renewal of St Martins' at St Giles Cripplegate (which was part of the ACE conference) with Jean Lamb and Wendy McTernan and then visited the St James Piccadilly half of the exhibition with Wendy again and Hayley Bowen.

Art and Life at Dulwich Picture Gallery: Ben and Winifred Nicholson were at the forefront of the Modern British movement and produced some of the most memorable works of the period. Discover ten years of artistic exploration by the couple in this exhibition curated by their grandson, Jovan Nicholson. It provides a rare opportunity to see their views of the same landscapes, seascapes, still lifes and portraits alongside pieces by contemporaries Christopher Wood, Alfred Wallis and the potter William Staite Murray. I thoroughly enjoyed this excellent show when I visited on Friday.

Can't Tell Nathan Caton Nothing is a Radio 4 comedy that mixes stand-up with re-enacted scenes from comedian Nathan Caton's family life. Regarded as one of the best young comics in the UK, Nathan's award-winning combination of personal and topical anecdotes has lead to appearances on BBC2's Mock The Week, BBC3's Russell Howard's Good News, BBC Radio 4's Now Show, News Quiz. I watched part of the recording of the third series with Paul Trathen.

The sheer variety of work presented each year is what makes the RA's Summer Exhibition an annual highlight of the cultural calendar. I went with Christopher Clack who has 'Teenage Boy', one of his portrait photographs, included in the show. Alongside Chris' marvellous image, in a room which also includes work by James Turrell, is a wonderful video by Everton Wright which was, for me, one of the best things in the show. I also particularly enjoyed work by John Bellany, Peter Freeth, Kaori Homma, Anselm Keifer and Wolfgang Tillmans.

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Gene Clark - Ship Of The Lord.

Monday, 11 November 2013

Australia at the RA

With 200 works by 146 artists, Australia is the most comprehensive survey of Australian art to have been mounted outside of Australia itself. The story told is one of cultural interaction between Australia’s indigenous peoples and its non-indigenous settlers. Sitting alongside this cultural story is the art historical story of the introduction and dominance of Modernism within Australian art.

The art of Australia’s indigenous peoples possesses an integrity and harmony with life and land which is initially absent from the figurative landscape-based art of the early white settlers. Aboriginal art is both made from the land and about the land. Shapes and symbols of the land are mapped on rocks, ground, bark, bodies and, in more recent years, canvas to enact and embody creation narratives and the balance which exists between the spiritual, natural and moral elements of the world.

While the indigenous peoples of Australia lived in the land and the land lived in them, the early white settlers brought with them an observational approach to landscape. Beginning with views of settlements and gradually expanding to depict the wilderness around them, the early settler artists established landscape as the dominant feature of Australian art. The variation and expanse of Australia’s land mass has provided endless opportunities to celebrate its terrain, vegetation, light and human settlements.

Within this has been a conflicted relationship with its indigenous peoples beginning with observational paintings of aboriginal settlements and rituals, through heroic dramatisations of settler activity which excluded on canvas, as in life, the indigenous peoples, and two-way influences (vis-à-vis Aboriginal artist Albert Namatjira mastering European styles while Margaret Preston, a supporter of Namatjira, adopted the palette, flat planes and aspects of mark marking of indigenous art), to contemporary commentaries on race relations which are intentionally provocative.

Modern art began in Australia with the plein-air Impressionism of Tom Roberts, Frederick McCubbin, Arthur Streeton and Charles Condor, among others. The work they produced adapted Impressionism to the particular light and terrain of Australia and artists began to talk of a specifically Australian tradition. The early Modernists emphasised colour and composition in cityscapes, with the newly constructed Sydney Harbour Bridge a particular focus, but the greatest period of Australian art to date featured the Expressionism of Arthur Boyd, Sidney Nolan and Albert Tucker. In their works, land, emotion and symbol coalesced by means of Modernism which, nevertheless, had parallels with Australia’s indigenous artists. In them, the land was speaking powerfully, albeit with strangeness and stress, once again.

Within both the cultural and art historical stories told within this exhibition are hints of another spirituality, the Christianity brought to Australia by the settlers. While the key catalyst for the recognition by the art world of Australia’s indigenous art is identified as being the work of Geoffrey Bardon, an art teacher at the local school in Papunya during the 1970s, Christian missions in Eastern Arnhem Land and Hermannsburg in the 1930s led to monumental panels of ancestors by Yolngu artists placed beside the altar of the local mission church together with the launch of the successful career of Albert Namatjira.
Roy de Maistre wrote that colour "constitutes … the spiritual speech of every living thing." Margaret Preston used The Expulsion to protest at the exclusion of Aborigines from their natural lands. Arthur Boyd set the casting out of the money changers from the Temple in Bendigo and Port Melbourne in his protest at materialism and greed. G.W. Bot’s Garden of Gethsemene, with its three slashes representing three crosses, was a response to the death of her daughter in 1999. These examples from the exhibition are symptomatic of a deeper, broader pool of Christian imagery and spirituality within Australian art which is not plumbed by this exhibition but includes work by Justin O’Brien, Leonard French, Eric Smith and Idris Murphy, among others, much of which has been stimulated by the Blake Prize for Religious Art. When explored alongside the spirituality of Aboriginal art, searching for meaning through this strand of Australian art and creativity can, as Sr. Rosemary Crumlin (author of Aboriginal Art and Spirituality and Images of Religion in Australian Art) has said, lead to the finding of deeper ways into our questions about life and meaning.

Similarly, as the RA’s own guide states, this exhibition "reflects the vastness of the land and the diversity of its people, exploring the implications of these realities - and mythologies - for national identity."

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Midnight Oil - One Country.

Saturday, 21 September 2013

Struggles to contend with the Australian landscape

Australia is "the first major survey of Australian art in the UK for 50 years, this exhibition spans more than 200 years from 1800 to the present day and seeks to uncover the fascinating social and cultural evolution of a nation through its art. Two hundred works including painting, drawing, photography, watercolours and multimedia will shed light on a period of rapid and intense change; from the impact of colonisation on an indigenous people, to the pioneering nation building of the 19th century through to the enterprising urbanisation of the last 100 years."

Anthony Gormley comments: "When I think of Sidney Nolan, Fred Williams or Arthur Boyd, I think of harsh earth and fierce sunlight. Through its new occupiers, somehow Australia produced modernist vigour ... There is a directness in the Indigenous traditions, whether the dots of the Western Desert or the colour field paintings of the Great Sandy Desert, where pigment is used to carry mineral truth as well as lived feeling."

Leading Australian contemporary landscape painter Idris Murphy has said:

"I’m not interested in negotiating my way around Indigenous painting. I think it is going to be a problem – can the Western tradition sustain a view of the world? I mean, Peter Fuller used to talk about this when he came to Australia very briefly; he saw in Fred Williams and Sidney Nolan the potential for the ‘last great hurrah’ of the Northern Romantic tradition and I think there’s a lot of truth in what he said. I think it’s going to be a problem – it’s not a problem for me – I’m just lapping it up! Of course I’m not Indigenous but I love the idea of this great wonderful European tradition, which I belong to, fusing with Indigenous art – happening right under my nose, in my lifetime! And I can see that as a whole new sort of language base for contemporary painting."

It will be interesting to see if this show gives any sense of this new sort of language base that Murphy sees in contemporary Australian art. By contrast Adrian Searle has suggested that the show is strong on Aboriginal art and full of classics – but loses its way in modern times:

"The show peters out in a parade of examples, a checklist of single works hung cheek by jowl with no real coherence. There is too much that feels secondary, or like retreads of flavour-of-the-month international fashions.

I am certainly no expert on Australian art, but even I can tell that, however enlightening parts of the earlier sections are, the show fails to give a sense of any of the more recent art except in a tokenistic way."

The Guardian does have a helpful timeline of Australian art, however: A history of Australian art – interactive timeline.

Back at the RA, author Tim Winton will explore his belief that ‘Australia the place is constantly overshadowed by Australia the national idea. Undoubtedly the nation and its projects have shaped my education and my prospects, but the degree to which geography, distance and weather have moulded my sensory palate, my imagination and expectations is substantial. Landscape has exerted a kind of force upon me that is every bit as geological as family.’

In today's Guardian, Winton selects Fred Williams's Yellow Landscape, 1968-9 as his favourite artwork from his homeland:

"he renders the scale and mystery of the physical world by tiny marks. The forms and figures are like scars in the hide of a beast too big to properly conceive of, let alone see entire. All these wens and divots are without pattern and yet they bring to mind calligraphy. These are the marks, the messy, chaotic texture that even the practised eye struggles to contend with in the Australian landscape. Whether you're seeing it from the air or at ground level, this is what your senses struggle with in the open country, such flat planes worked over with hieroglyphics born of fire, erosion, meteor showers, drought and epochal passages of time. Here humans might seem incidental."

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Midnight Oil - Dreamworld.

Friday, 26 July 2013

Where are today's social realist artists?

Social Realism is "the work of painters, printmakers, photographers and film makers who draw attention to the everyday conditions of the working classes and the poor, and who are critical of the social structures that maintain these conditions."

Good examples of social realism can currently be seen at the Watts Gallery - Frank Holl: Emerging from the Shadows - and the Royal Academy of Arts - Mexico: A Revolution in Art 1910 -1940:

"In 19th-century England the Industrial Revolution aroused a concern in many artists for the urban poor. Throughout the 1870s the work of such British artists as Luke Fildes, Hubert von Herkomer, Frank Holl (e.g. Seat in a Railway Station—Third Class, wood engraving, 1872) and William Small (e.g. Queue in Paris, wood engraving, 1871) were widely reproduced in The Graphic, influencing van Gogh’s early paintings."

The muralists who were active in Mexico after the Revolution of 1910 "emphasized a revolutionary spirit and a pride in the traditions of the indigenous peoples of Mexico. Diego Rivera’s History of Mexico from the Conquest to the Future (1929–30, 1935; Mexico City, Pal. N.), José Clemente Orozco’s Catharsis (1933; Mexico City, Pal. B.A.) and David Alfaro Siqueiros’s The Strike (fresco, 1957; Mexico City, Mus. N. Hist.) are characteristic of the movement."

Where are our equivalents today of these artists and groups? The claim is often made that contemporary art is radical but the radicalism of much modern and contemporary art has been an inwardly focussed radicalism concerned with the form of art as opposed to the radicalism of social realism which addresses cultural, economic and political structures that create and maintain poverty.

One contemporary artist concerned with the latter is John Keane: "His work has focused on many of the most pressing political questions of our age, and he came to national prominence in 1991 when he was appointed as official British war artist during the Gulf War. His work has always been deeply concerned with conflict - military, political and social - in Britain and around the world and his subjects have included Northern Ireland, Central America, and the Middle East, sometimes working with organisations such as Greenpeace and Christian Aid. More recent subject matter has addressed difficult topics relating to religiously inspired terrorism such as Guantanamo Bay, the Moscow theatre siege, and home-grown acts of violence against civilians."

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The Jam - Wasteland.

Tuesday, 16 July 2013

Mexico: A Revolution in Art, 1910-1940

In 1910, revolution brought years of instability to Mexico but, in its aftermath, the artistic community flourished under state sponsored programmes designed to promote the ideals of the new regime.

Mexico: A Revolution in Art, 1910-1940 brings together work by Mexican artists at the forefront of the artistic movement including three larger-than-life painters - Diego Rivera (1886-1957), José Clemente Orozco (1883-1949) and David Alfaro Siqueiros (1896-1974) - (who revisited the 1910-1920 Mexican Revolution, and much of the country’s history, in creating powerful political murals), plus Rivera's wife, Frida Kahlo. Also on display is work by international artists and intellectuals who were drawn to the country by its political aspirations and the opportunities afforded to artists. Among them were Marsden Hartley, Josef Albers, Edward Burra, Paul Strand, Henri Cartier-Bresson, André Breton and Robert Capa.

Mexico: A Revolution in Art, 1910-1940 is a fascinating exhibition. The photography included is exceptional in its awareness of pattern and detail through close-up. There are wonderful spiritual landscapes by Hartley, Burra's vivid, detailed and disturbing Mexican Church, and Blakean watercolour sketches by Leon Underwood. The exhibition provides an interesting and engaging introduction to the period in question but is extremely limited in the range of work shown, with the key artists - Rivera, Orozco, Siqueiros and Kahlo - restricted to one piece each. In amongst the mass of artists noted as visitors to Mexico, there are significant figures such as Leonora Carrington missing, while the broader influence of the Mexican muralists is not fully explored, including, for instance, the influence of Siqueiros on the drip paintings of Jackson Pollock. As Jonathan Jones has written in The Guardian it could and should have been so much more.

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Transatlantic - We All Need Some Light.

Tuesday, 26 March 2013

St Christopher's Hospice

As part of researching an article on Marian Bohusz-Szyszko I recently visited St Christopher's Hospice.

Founded by Dame Cicely Saunders in 1967 St Christopher’s Hospice was the first modern hospice, now providing the highest quality care to over 2,000 dying individuals each year on their inpatient wards and in people’s own homes. It has been a pioneer in the field of palliative medicine, which is now established worldwide. The ongoing impact of St Christopher’s clinical innovations and their extensive programmes of education and research improve care for dying people well beyond their geographical location and influence standards of healthcare throughout the world. The Education Centre provides a portfolio of palliative care courses, education and training that improve end of life care in a range of settings.

Dame Cicely‘s vision and work transformed the care of the dying and the practice of medicine. She understood that a dying person is more than a patient with symptoms to be controlled and became convinced of the paramount importance of combining excellent medical and nursing care with “holistic” support that recognised practical, emotional, social, and spiritual need. She saw the dying person and the family as the unit of care and developed bereavement services at St Christopher's Hospice to extend support beyond the death of the patient.

Living life creatively during serious illness can also be important. Patients and carers have said that capturing their life story or gaining new possibilities through the arts can be a rewarding and meaningful experience. Nigel Hartley and Malcolm Payne, who both work at St Christopher's, have edited an excellent book The creative arts in palliative care that explores the use of creative therapies in the hospice. The use of pottery, painting, craft work, digital arts, art therapy and music and music therapy are all explored as are examples of outreach work.

St Christopher’s are currently engaged in a dynamic, annual creative arts partnership with the Royal Academy of Arts. This particular project captures the views of dying people and those who care for them through the creation of a range of artistic self-portraits using various artistic mediums including photography, quilt making, painting, drawing, creative writing and music making.

Dame Cicely‘s vision to establish her own home for the dying was underpinned by her religious faith. She had initially thought of creating an Anglican religious community but broadened her vision so that St Christopher's became a place that welcomed staff and patients of any faith or none. However, her strong Christian faith was a fundamental factor in her commitment to the dying and remained an anchor throughout her life.

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Al Green - Take Your Time.

Friday, 11 January 2013

Mexico and Australia: Revolution and Land

I'm looking forward to two exhibitions at the Royal Academy in the Autumn. The first is Mexico: A Revolution in Art, 1910 – 1940, (The Sackler Wing of Galleries, 6 July – 29 September 2013) which "will examine the intense thirty year period of artistic creativity that took place in Mexico at the beginning of the twentieth century. The turmoil of the revolution between 1910 and 1920 ushered in a period of profound political change in which the arts were placed centre stage. Often referred to as a cultural renaissance, artists were employed by the Ministry of Public Education on ambitious public arts projects designed to promote the principles of the revolution.

The exhibition will explore this period both in terms of national and international artists. Work by
significant Mexican artists, such as Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros,
will be placed alongside that of individuals who were affected by their experiences in Mexico. These
include Josef Albers, Edward Burra, Philip Guston, Marsden Hartley, Paul Strand, Henri Cartier-
Bresson, Henrietta Shore, Leon Underwood, Tina Modotti and Edward Weston. Mexico: A Revolution
in Art, 1910 – 1940 will reveal a dynamic and often turbulent cultural environment that included some
seminal figures of the twentieth century reflecting on their interaction with each other and their
differing responses to the same subject: Mexico."

The San Bernadino County Museum describes the Mexican Mural Movement as follows: "The Mexican Mural Movement began about 1913 when Mexican President Victoriano Huerta appointed Alfredo Martinez as director of the Escuela Nacional de Artes Plasticas. Gerardo Murillo (who called himself Dr. Alt) of Guadalajara painted the first modern mural in Mexico, and pioneered the idea that Mexican art should reflect Mexican life. After the revolution, the new government commissioned works of public art that supported and affirmed the values of the revolution and the Mexican identity: a broader knowledge of revolutionary history and the Mexican people’s pre-Columbian past.

Three muralists—“los tres grandes,” José Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros—became the internationally-known leaders of the mural movement. All believed that art, the highest form of human expression, was a key force in social revolution. Together, they created the Labor Union of Technical Workers, Painters and Sculptors and devoted themselves to large-scale murals illustrating the history of Mexico, its people, its society, and the revolution. Their work was not always received positively. All spent some time in the United States creating works of art."

Rivera "did not represent religious images unless they were useful as social observations ... The most that he came close to portray religious messages was at the murals in Chapingo, where his images functioned as a catechism exhorting a new generation of Mexican farm workers and agricultural planners to uphold a modern nationally, constructive, self-respecting way of life, based on the credo "exploitation of the land, not of man."" Nevertheless, it has been noted that his Detroit Industry Murals "are rife with Christian themes and utopian symbolism."

Orozco "painted the theme, Cristo destruye su cruz, three times in his life, twice as murals — one of which still survives at Dartmouth College — and once on a 4’ x 3’ canvas." The image has been understood both as saying “It is finished!” to the violence that destroys and oppresses and as a denial of "the sacrificial destiny meant for him."

"Siqueiros painted some fifteen portraits of Christ ... on August 2, 1963, he inscribed the following quote from the most devout of Italian painters, Fra Angelico, in the back of his painting Cristo del Pueblo: "May only he who believes in Christ paint Christ." And in another occasion, during his imprisonment, he declared: "Was Jesus Christ not, like me, a victim of social dissolution, a persecuted man?" On August 9, 1963, from his cell at a crime prevention facility, Siqueiros inscribed the following words regarding the Via Crucis on the back of his painting, Mutilated Christ: "First, his enemies crucified him 2000 years ago. Then, they mutilated him from the Middle Ages on, and today, their new and true friends restore him under the political pressure of communism post-Ecumenical Council. This small work is dedicated to the latter."

The second exhibition is Australia (Main Galleries, 21 September – 8 December 2013), "the first survey of Australian art in the UK in over 50 years. The exhibition will reveal the development of Australian art through over 180 paintings, prints and drawings, watercolours, photographs and multimedia works, incorporating
settlers’ images of the land from the beginning of the nineteenth century to today, together with art by
Aboriginal Australians. The exhibition will consider the tensions both real and imagined between the
landscape as a source of production, enjoyment, relaxation and inspiration, and conversely as a
place loaded with mystery and danger.

The exhibition will include works by Aboriginal artists such as Albert Namatjira, Rover Thomas, Emily
Kame Kngwarreye and Fiona Foley. Nineteenth century European immigrants such as John Glover
and Eugene von Guerard will also feature, as well as the Australian Impressionists whose paintings
relied heavily on the mythology of the Australian bush: Arthur Streeton, Tom Roberts (a student of
the Royal Academy Schools), Charles Conder and Frederick McCubbin. Early Modernists such as
Margaret Preston, Grace Cossington Smith and Roy de Maistre will hang alongside the leading
twentieth century painters: Arthur Boyd, Rosalie Gascoigne, Fred Williams, Brett Whiteley and
Sidney Nolan RA, with the exhibition ending in the twenty-first century with internationally recognised
artists such as Shaun Gladwell, Bill Henson and Tracey Moffatt."

Margaret M. Manion has written that "for a surprisingly large number of gifted Australian artists, the relationship between art and religion has continued to provide a creative challenge." Robert Hughes suggested in The Art of Australia that Justin O'Brien "was the first Australian painter to concentrate on religious imagery" but that religious painting in Australia was "quickened" by Eric Smith and Leonard French. Rosemary Crumlin writes in Images of Religion in Australian Art that with "the founding of the Blake Prize for Religious Art in 1950, many artists turned to the Scriptures for subject matter in their paintings, some of them for the first time":

"Roy de Maistre, reconverted to Catholicism in London, worked often from the Bible and became associated with the Sacred Art Renewal Movement in England. In Melbourne, Russian immigrant Danila Vassilieff used religious subjects, often ironically, sometimes humourously and with zest. In Melbourne also, the Boyd family, always deeply religious, provided its younger generation, including Arthur Boyd and his brother-in-law John Perceval, with an easy familiarity with the Scriptures as texts of faith and guidance for living."

In The Blake Book: Art, religion and spirituality in Australia, Crumlin continues the story providing "a fascinating visual social history of Australia and an astute, well-documented history of The Blake Prize from 1951 - 2011. The book traces many significant changes in art and art movements, both within and beyond Australia. Through their work and words, the artists have room to speak of what has influenced them and found expression in their Blake entries. The influences they name range widely. Choices often surprise.
Among the winning artists presented in the book are Donald Friend, John Coburn, Stanislaus Rapotec, Roger Kemp, Ken Whisson, Maryanne Coutts, George Gittoes and Euan Macleod. Space is given to indigenous art and the many exhibited artists other than the winners."

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Midnight Oil - My Country.