A couple of shots from inside the YSP Visitor Centre with light streaming through the ceiling to floor length windows
After looking round the exhibition in the old Chapel, we walked across the Country Park, down rast the lower lake and up the hill to the Longside Gallery where there was yet another new exhibition to see! Kaleidoscope: Colour and Sequence in 1960s British Art is a survey of
painting and sculpture from the Arts Council Collection, and augmented with major loans from important UK collections…. (which) …… examines the art of the 1960s through a fresh and surprising lens, one bringing into direct view the relationship between colour and form, rationality and irrationality, order and waywardness.
There’s a good selection of works by 20 British artists including Anthony Caro, Bridget Riley and William Turnbull. I was familiar with some of them but there were some discoveries (always good!).
The works on display included examples of Op Art, Pop Art and Constructivism, and
the sequential placement of brightly-coloured abstract units found in New Generation sculpture.
The Longside gallery is another good, airy exhibition space with large windows facing north letting in plenty of light.
Here are a selection of the works I liked
Blue Ring (1966) by David Annesley
Slow Movement (1965) by Anthony Caro
Thebes (1966) by William Tucker
Double Red (1966) by William Turnbull
Quinquereme (1966) by Tim Scott
Movement in Squares (1961) by Bridget Riley
Ilmater (1966-7) by Jeffery Steele
Holywood Pix (1967) by Anthony Donaldson
Pelagic II (1967) by Bernard Farmer
15.5.64 (1964) by John Hoyland
One of my favourites was Suspense (1966) by Peter Sedgely. This was one of a small number of works from the exhibition where photography wasn’t allowed. Another example of Op Art (like the paintings by Bridget Riley and Jeffery Steele, it was painted in such a way that it seemed that the image was out of focus – very clever!
Another good exhibition – worth the walk up the hill!!
There’s always plenty to see at the YSP so after our first look around the Tony Cragg exhibition we had something to eat and then walked over to the former chapel which has been converted into an excellent exhibition space to see the [Re]construction exhibition which had only opened a few days before.
Selected largely from the Arts Council Collection by YSP, as part of the National Partners Programme, the exhibition questions what we know and understand about architecture, and features work by artists including Martin Creed, Anya Gallaccio and Cornelia Parker.
Walking through the entrance the first thing we saw was what appeared to be a brick wall with a large section of bricks that had melted.
This was Alex Chinneck’s A hole in a bag of nerves (2017) which was constructed especially for the exhibition. The bricks are made of wax and a section has been melted with a hot air heater.
The centre of the main space was dominated by Cornelia Parker’s Neither From Nor Towards.
This work comprises weathered bricks from a row of houses destroyed when they slipped into the sea on the south-east coast following the erosion of the cliffs. The bricks are suspended in space, recreating their fall. Like the exploding house we saw at the Whtworth a couple of years ago it was an impressive work.
This work, can love remember the question and the answer, is by Anya Gallaccio
Those are real flowers trapped between the glass panes in the mahogany door. The flowers will rot and decay, so the work will change subtly over the course of the exhibition.
There were a number of video works included in the exhibition. I found two of them, Rooms designed for a woman by Emily Speed and Device by John Wood and Paul Harrison – the “ art-world equivalent of Laurel and Hardy” according to the Tate website showing in the Chapel’s gallery, particularly interesting.
The latest main exhibition at the Yorkshire Sculpture Park is a major retrospective of the work of Tony Cragg – a British sculptor who lives and works in Germany. It includes 14 large sculptures (made within the last 10 years) displayed in the grounds, 35 indoors in the Underground and Garden Galleries and 80 works on paper.
We drove over earlier this week, braving the long term roadworks on the M60, to take a look and were well impressed!
Tony Cragg was born in Liverpool and initially worked as a lab technician for the National Rubber Producers’ Research Association. He enrolled on the foundation course at Gloucestershire College of Art and Design in Cheltenham in 1969 when he was 20 and then went on to study at Wimbledon School of Art and the Royal College of Art. He won the Turner Prize in 1988 and represented Britain at the 42nd Venice Biennale in the same year.
Initially he was associated with the Land Art movements, concentrating on site-specific installations of found objects and discarded materials. This early part of his career wasn’t particularly covered in the exhibition other than a small selection of works and photographs in the Project Space in the Underground Gallery, including this one
New Figuration (1985) – made from plastic objects washed up along the Rhine.
This is another relatively early work, in this case made using heavy-duty metal industrial components
The majority of the larger sculptures on display, however are from his later Early Forms and Rational Beings series.
Cragg started creating his Early Forms in the late 1980s. They’re based on various types of vessels, such as laboratory test tubes and flasks, jars and bottles which he has “morphed” to form abstract shapes and forms, but with an element of the form of the original object still present. They rather reminded me of plastic or rubber mouldings where the production process has gone wrong resulting in a deformed shape. I’ve seen similar mishaped mouldings when I’ve been visiting rubber and plastic production sites during my work. No doubt Cragg saw similar things when he working in the rubber industry which gave him some inspiration for this series.
The starting point for the works in Cragg’s Rational Beings series are profiles of the human face or, sometimes, body. But they’re overlaid and manipulated so that it’s initially difficult to make out the origin of the complex forms he creates from overlaid discs of wood or other materials, in some cases left as wooden sculptures, in other cases casting them in bronze or other metals.
Look closely from the right angle and the profiles of human faces or figures can be seen
Other works included examples from his Hedge series
and a couple of sculptures from the more recent Skull series
This sculpture has it’s surface entirely covered with dice
and this one, the surface covered with letters, is reminiscent of the work of Jaume Plensa
The Garden Gallery displays concentrated on smaller sculptures and works on paper
including pictures of test tubes inspired by his time working as a lab technician.
I particularly liked a couple of smaller sculptures made from glass
This is a superb exhibition and will definitely benefit from a second visit. We’re already planning one for July!
Last Sunday promised to be a fine day so we decided to get outdoors. We decided against heading up to the Lakes and, instead, tackle Clougha Pike which is a hill on the edge of the Forest of Bowland Area of Oustanding Natural Beauty which overlooks Lancaster. Having climbed it’s neighbour, Ward Stone, in the past, I knew that we were likely to have some good views on a fine day and I’d recently discovered that there was a sculpture by Andy Goldsworthy up on the moor, having read about in a post on Beating the Bounds. All in all it seemed a good bet for combining a walk with some art and less than an hour’s drive up the M6.
We parked up in the car park on Rigg Lane near Quernmore and set off on a route that would take round the back of Clougha Pike and past the Goldsworthy sculpture, then over Grit Fell across to the summit of our main objective. The hill and surrounding moors are part of the Abbeystead Estate owned by the Duke of Westminster and it’s been “cultivated” for grouse shooting. Access to the heather clad moorland was jealously guarded until the recent past, but with changes in legislation it’s open access land outside of the shooting season.
There is plenty of evidence of the grouse shooting with grouse butts and parking spaces dotted across the moors and there are bulldozed tracks to allow the shooters easy access. Our route followed one of these roads (only suitable for 4 x 4 s) for almost half the distance, and although they could be considered to spoil the look of the moor to some extent, they do make for easy walking over what would otherwise be very wet and boggy peat, and we had to endure that for much of the second half of the walk.
We set off and followed the track along to the quarry near to Cragg Wood.
It wasn’t long before we encountered the first grouse of the day!
The Red Grouse is only found in the British Isles, and, in England, mainly in the North West.
A flock of sheep were keeping an eye on us.
Reaching the quarry we joined one of the shooters’ tracks and started the climb up the moor.
Visibility was good and great views over to the Lake District mountains and the Yorkshire Dales soon opened up.
I shot panoramas of the Lakeland Fells
and the Three Peaks (Whernside, Ingleborough and Pen-y-ghent)
Looking to the west over Lancaster and Morecambe Bay to the Furness peninsula
We passed weathered formations of Millstone Grit
Eventually we arrived at the former quarry where Andy Goldsworthy had constructed three structures where we stopped to take a look and to have our dinner.
A local resident was keeping an eye on us!
Carrying on along the track we passed Ward’s Stone, the highest hill in Lancashire (since the boundary changes of 1974 robbed us of Coniston Old Man!) on our left
before turning off the track on to a path crossing the moorland towards Grit Fell
It was wet and muddy and swampy (so no chance of keeping our boots clean) and hard going in places.
Eventually the summit of Clougha Pike beckoned
We stopped for a while for a bite to eat and to take in the views. Then we set back down following the path along Clougha Scar
We missed the path which cuts back to the Rigg Lane car park and ended up part way up the shooters’ track we’d come up on.
We retraced our route back to the car park. The diversion resulting in a slightly longer walk than planned. A good day, nevertheless.
Aisling, Scariff, (1964) Pitch-pine, red deal
Sculpture by James McKenna at the IMMA
comprises of exciting recent and new work made in response to the architecture of IMMA
Since the mid-1980s, Leirner has collected the temporary and incidental products of everyday life, tapping into what she has described as the ‘infinity of materials’. Stickers, rulers, plastic bags, business cards, cigarette ends and even bank notes make their appearance in her work, removed but not entirely dislocated from their original function.
I saw a work by her during my visit to Tate Modern in January – Levels (2012), a simple work consisting of eight differently coloured spirit levels lined up end to end. A case of “Modern Art? I could have done that” – the answer, of course, being “but you didn’t think of it”. The same points could certainly be made about the Dublin exhibition.
This work displayed at the IMMA is also constructed from spirit levels – 32 of them.
Another spine (2017)
There were also three works made from rules. This one was my favourite
I rather liked these simple squares made from 297 cigarette rolling papers stick directly on to the gallery wall.
Skin (Rizla Liquorice), 2013. Cigarette rolling papers
Attached by their edges they were loose enough to flutter due to the air movement in the room.
This work consists of a long length of electric cable with a plug at one end and an electric light bulb lit by the main current at the other. It’s looped up and down to form a large rectangle on the gallery wall.
Special Light (2017)
This was probably my favourite work, though – Cloud (2017),
which is made from airport luggage tags – the title of the work no doubt referencing their previous use on bags stored in the holds of aircraft.
I thought it was an imaginative use of the used tags to create an effective sculpture.