A few photos taken during our visit to the Yorkshire Sculpture Park last Saturday.
Last Saturday we drove over to the Yorkshire Sculpture Park. It was our third visit this year but we wanted to see the Sean Scully exhibition that had recently opened in the Longside Gallery, with some additional works outdoors. We’d seen them starting to install one of the latter during our visit during the summer.
Sean Scully was born in Dublin, grew up in London and currently lives in the USA and Ireland. He’s best known for his abstract paintings made up of coloured stripes, rectangles and squares and we’ve seen many of his works in various galleries we’ve visited. I wasn’t aware that he also produced sculptures, so I was particularly interested to see the examples included in the YSP exhibition.
We arrived around 11 and after a brew and a cake set off over the park heading over to the Longside Gallery, which is at the far end of the park, about a mile or so walk from the main Visitor centre and car park.
There were four of his large sculptures outdoors in the park and we encountered the first of these just before we reached the lake.
Crate of Air (2018) is a large construction made of Corten steel. Unprotected from the elements it’s surface covered with red iron oxide, it’s appearance will change over time as the metal is affected by the elements and also by the light conditions, the red colour particularly standing out in the sunshine. It looks rather like an unfinished industrial structure, the sort of think that I often see during visits to some of my clients.
Carrying on down the slope we crossed the dam at the end of the Lower Lake, following the path and climbing up David Nash’s Seventy One Steps
and then walked the woods along the top of the hill, past several works of art by artists including Andy Goldsworthy.
Descending down towards the Longside Gallery we passed a group of locals who were curious to have a look at us too
Outside the Longside Gallery there was another Corten steel sculpture, Moor Shadow Stack
We entered the gallery where there were four more sculptures together with a large selection of paintings, works on paper and photographs.
Coin Stack (2018) is inspired by Scully’s childhood when his father, a barber, would bring home his tips and count them in stacks on the kitchen table. There was a sketch of the stack together with a poem which explained its origin
The other three sculptures were also stacks, but of rectangular rather than round slabs – one of wood, one of painted metal
and the third of unpainted metal, neatly stacked
The exhibition guide tells us that
Their stacked format retains the simplicity of Scully’s reduced visual language. He describes a job he did as a student, stacking flattened cardboard boxes from a supermarket into a lorry – hard, filthy work, with protruding staples lacerating his skin – but aware all the time of creating teetering sculptural forms that gradually filled the vehicle’s void with mass.
The paintings were very representative of his work – coloured strips and squares
There was also a series of photographs of dry stone walls. My immediate reaction was that they reminded me of those I’d seen during my several brief visits to Galway, and which are very different from the ones we see in the English countryside, so I wasn’t surprised to find that they’d been taken in the Aran Islands in Galway Bay, where Scully is a regular visitor
Looking at the photos it was clear that these structures, together with the horizontal patterns produced by the landscape and sky, influenced the style of Scully’s work.
After spending a good hour looking around the gallery we set off back down the hill towards the other side of the park, taking the alternate route back through the fields. At the bottom of the slope, just before the bridge between the two lakes, we saw the third of the outdoor sculptures, Dale Stone Stack, which is constructed of local stone.
The final open air work was in the lower park on the other side of the lake. Wall Dale Cubed is a massive structure also made of Yorkshire stone
My first thought was that it looked like something from the Flintstones! The Yorkshire Post compares it to
Stonehenge-style prehistoric architecture or even an ancient Inca temple.
Like his paintings it’s made up of rectangular blocks in different orientations. Lit up by the autumn sunshine, there were different colours evident (although of a more limited range than his paintings) and variations in texture. There was plenty of interest and, like the other outdoor works, it’s appearance will change over time and also with the light.
We’d seen the main exhibition in the Underground Gallery a couple of times now, so spent the rest of the afternoon walking around the grounds, looking at the outdoor sculptures, having a brew in the Visitor Centre cafe and also taking the opportunity to have a look at the exhibition of prints by Norman Ackroyd. Enough scope for another post, I think.
This year, the sculpture exhibition in the Rijksmuseum gardens features the work of the Spanish Basque artist Eduardo Chillida (1924-2002). He was originally a footballer, playing in goal for Real Sociedad, San Sebastián’s La Liga football team, but serious injury cut his career short.
He studied architecture before becoming a sculptor, and some of his works certainly have an architectural quality.
His work combines modern abstraction with traditional artisanal techniques for working materials, in particular forging iron. He frequently made his numerous and celebrated public works from large-format steel, using the material in a bold and spectacular fashion, with utter disregard for its innate constraints. Chillida believed that ‘To construct is to build in space.’ (Exhibition website)
One of the temporary exhibitions at the Stedelijk Museum was dedicated to the work of Studio Drift, Netherlands-born artist Lonneke Gordijn and her British/Dutch partner Ralph Nauta, who use modern technology to produce some imaginative installations and videos.
The first work we saw was Drifter, a massive ‘concrete’ block that floated mid-air, tilting and moving around the room as if of its own accord.
In the next room, Ghost Collection consisted of a number of transparent plastic chairs with ghostly forms created by air bubbles trapped inside the Perspex and illuminated by light.
This sculpture, Fragile Drift, was created by three-dimensional bronze electrical circuits connected to light emitting dandelions. It contains real dandelion seeds, that were picked by hand, and glued seed by seed to LED lights.
In Flylight , lights suspended from the ceiling responded to the movement of visitors to the gallery creating changing patterns of light, inspired by the movement of flocks of birds.
Other works on display included an interactive 3D installation, video works and videos of installations they’d created.
The final work, Tree of Ténéré was a large-scale LED artwork in the shape of a tree that was originally installed at the Burning Man festival in Nevada in 2017. It was created in conjunction with American artist artist Zachary Smith.
The project is named after an acacia tree that once grew 400 kilometres from any other tree in the Sahara Desert, which was used as a marker on caravan routes but allegedly mowed down by a drunk driver in 1973.
It was an excellent exhibition and worth the the entrance fee to the Museum on it’s own.
The final day of our short break in Amsterdam and our flight didn’t leave until just before 10 p.m. Son and daughter wanted to visit the Van Gogh Museum and had bought tickets online. We’d been before and decided to let them explore without us and, instead, we went to have a look around the Stedelijk Modern Art Museum, next door. We’d been before, in February, but they were between exhibitions, so thought it was worth another look round. They’d also redesigned the exhibition space for the permanent collection since our previous visit.
There was a lot to see and in this post I’ll concentrate on some of the works from the permanent collection that caught my eye (excluding those from my post from the February visit).
Kitchen Gardens on Montmartre by Van Gogh
Double Portrait of the Artist and his Wife by Max Becker
La Montserrat by Julio Gonzalez, a sculpture that represents the fighting spirit of the Catalan people during the Spanish Civil War
Apartheid by Keith Haring
Radioactive Waste by Sigmar Polke
Some posters from the Museum’s collection of Soviet art works
There were also quite a number of Modernist photographs, many taken by photographers I hadn’t come across before, so I’ll have to follow up with some research when I have the time (so much to see, find out and do – so little time!!!). The photos don’t come out too well in my snapshots due to reflective glass, unfortunately.
While we were visiting the Tate in Liverpool on Sunday we managed to catch the last day of the free exhibition “Ken’s Show: Exploring the Unseen”. Tate Liverpool opened in 1988 so last year was it’s 30th anniversary. As part of the celebrations the Gallery gave their chief Art Handler, Ken Simons (one of the back room staff who set up the exhibitions) and who has worked at Tate Liverpool since it opened (having previously worked in the London Galleries) free reign to pick 30 works to go on display in his own curated exhibition.
On display are a selection of Ken’s favourite artworks from the Tate collection alongside artists who had their first UK showing at Tate Liverpool. Highlights include Joseph Mallord William Turner, Dame Barbara Hepworth and Mark Rothko.
His taste is clearly similar to my own as I liked just about every work that he’d selected, and I felt it provided quite a good introduction to Modern Art.
The works on display included
Snow Storm – Steam boat off a harbour’s mouth (1842) by Turner
A mud painting by Richard Long Untitled (1991)
Winged Being (1961) by Jean Arp
Figure (Nanjizal) (1958) by Barbara Hepworth
Howard Hodgkin’s Rain (1984-9)
Last Sunday we decided to visit Tate Liverpool to catch up on their latest exhibitions. The main show at the moment is devoted to the work of two artists who lived at the opposite ends of the 20th Century – Egon Schiele the American photographer Francesca Woodman. As usual for the paid exhibitions at the Tate, no photographs allowed inside.
Lately, Tate Liverpool has had a tendency to have joint exhibitions, trying to show connections between different artists. In this case, the Tate’s website tells us that
Both artists are known for their intimate and unapologetic portraits, which look beneath the surface to capture their subjects’ emotions. Schiele’s (1890–1918) drawings are strikingly raw and direct. He had a distinctive style using quick marks and sharp lines to portray the energy of his models. Woodman used long exposures to create blurred images that captured extended moments in time. Her photographs can be surreal, humorous and at times painfully honest.
The close encounter between these two exceptional artists offers an intense viewing experience and a new perspective on their personal and powerful works.
Most of the reviews I’d seen before our visit questioned the relevance of this pairing and I have to say that it was difficult to see what the justification was. They both had short careers, dying young (Schiele from Spanish flu in 1918 when he was 28 and Woodman taking her own life when she was only 22) and their works concentrated on portraying the human body. But there were more differences than similarities. It wasn’t so much that the media they worked in – Schiele created paintings and drawings while Woodman was a photographer – but the nature of the work. Woodman’s photographs almost always take her own body as the subject while although Schiele painted and drew some self portraits, particularly early in his career when he couldn’t afford to hire models, these were a minority of his oeuvre. And the biggest difference for me is that Schiele’s work is intensely erotic while although Woodman is naked in her photographs they are not in the least sexual.
Still, that didn’t spoil if for me. I guess that mentally I saw it as two separate exhibitions that just happened to be intermingled with alternate sections devoted to each artist. I’d seen an exhibition devoted to Schiele at the Courtauld 3 years ago and so although it was interesting to see another large selection of his work I particularly enjoyed discovering Francesca Goodman’s photographs.
There was a large selection of drawings and paintings by Schiele, covering his entire career. He was
A master draughtsman, he is known for his erotic depictions of women and himself. He depicted his subjects in unconventional poses, with expressive faces – ranging from anguished to climactic – and with an emphasis on the hands, which were often greatly exaggerated. (exhibition guide)
Even today his drawings and paintings are quite shocking – some of the works included in the exhibition were very explicit. It’s hard to appreciate just how controversial they must have seen when they were first displayed. In my post about the Courthauld exhibition I commented that although his work is technically brilliant, I felt some unease about their subject matter in the explicit way he portrayed his female models. I felt the same at the Tate.
This is one of his milder sketches
I was interested to see how his work started to change towards the end of his career. He still concentrated mainly on drawing naked women, but his style became more naturalistic, less angular and more rounded, with bodies sketched out with just a few strokes of his pencil.
I wonder how his style would have progressed if he hadn’t died so young.
Francesca Wood man was a very prolific artist, mainly taking small scale black and white photographs featuring her naked body. But, as I mentioned above, they were not intended to be erotic or sexual. She used long exposure times and soft focus and many of the pictures incorporate blurred figures. She incorporated objects such as furniture, wallpaper and plants, concealing parts of her body,
and sometimes used materials such as sellotape and clothes pegs to distort her body.
Her compositions were clearly influenced by the Surrealists and some of the photographs in the exhibition reminded me of the work of Man Ray.
As is too often the case, she wasn’t commercially successful during her tragically short lifetime, her photos being rejected by galleries and she failed in an attempt to get involved in fashion photography. This combined with the failure of her personal relationship, and, no doubt, other issues, led to her committing suicide when she was only 22, on 19 January 1981.