Joana Vasconcelos: Beyond at the YSP

It seems forever since I took a week off work but it was only 3 weeks ago. Such a lot has happened since then. The weather at the beginning of that week hadn’t been so great but by the Thursday things had brightened up and we decided we’d drive over to the Yorkshire Sculpture Park, A new exhibition had just started and we wanted to see how J’s name had weathered on the new “Walk of Art”.

It was bright and sunny when we arrived, but very windy. It continued like that for most of the day, and it was very muddy underfoot, so we didn’t spend as much time as we’d have liked walking around the grounds (in fact, the paths around the lake were closed off due to the strong wind). However, there was plenty to see in the Underground Gallery and the more sheltered areas close to it.

We parked up by the new Weston Gallery, Restaurant and Shop so we could take a look at the Walk of Art. The plates installed last summer had weathered and oxidised, blending in with the ones that had been installed earlier that year.

We set off battling against the wind across the muddy fields of the parkland over towards the old chapel and the Underground Gallery.

We called in to the Chapel to look at the exhibition Something About Paradise by Saad Qureshi, that was due to close a few days after our visit. More about that in another post

The new main exhibition, which had only opened a few days before our visit, features works by the Portuguese artist Joana Vasconcelos. As has been the case several times during visits to the major exhibitions at the YSP, I hadn’t heard of this feminist artist. The exhibition website tells us that she

creates vibrant, often monumental sculpture, using fabric, needlework and crochet alongside everyday objects from saucepans to wheel hubs. She frequently uses items associated with domestic work and craft to comment from a feminist perspective on national and collective identity, cultural tradition and women’s roles in society.

I think that sums up what we saw very well.

The first of her works that we saw as we walked across towards the main visitor centre was this giant ceramic cockerel Pop Galo [Pop Rooster] (2016) which was inspired by the image of the Portuguese rooster.

The sculpture is over nine-metres-high and is covered by 17,000 glazed tiles. It also includes 15,000 LED lights which are illuminated at dusk while a composition by musician Jonas Runa is played. As we’d left well before dusk we weren’t able to see and hear that – perhaps we’ll have the opportunity towards the back end of the year – assuming we’re let out by then!

The large scale nature of this, and many other of her works, means that they’re necessarily a collaborative effort. The role of the artist is more of a designer than craftsperson – rather like that of an architect during the construction of a landmark building.

Moving inside the Underground Gallery the first works we saw this statue of the godess Diana covered by a cotton crotchet

and three ceramic animal heads, similarly adorned.

Moving into the first gallery there were several large works including this giant pistol made of 168 old style telephone handsets with the sound of a modern electro-acoustic composition by Jonas Runa playing. A number of the works in the exhibition incorporate music.

Call Center (2014-16)

In the next gallery you couldn’t miss these gigantic high heel shoes made of stainless steel saucepans. The work was created for the Milan fashion show

Marilyn (2011)

and hanging from the ceiling was this massive work, inspired by the Valkyries of Norse legend, made from fabric and crocheted panels

Valkyrie Marina Rinaldi (2014)

Another large crocheted work in the 3rd gallery

Finisterrra (2018)

Moving outside, there were a number of large scale works on display.

This massive mask, constructed from Baroque style mirrors, was on the lawn facing the Underground Gallery.

I’ll be Your Mirror ~1/7 (2018-20)

I wouldn’t mind a tea pot as big as this one! Although being made of wrought iron “lace work” it wouldn’t be so good for holding the tea.

Pavilion de The (2012)

and, similarly, this jug wouldn’t be so good for storing your wine

Pavilion de Vin (2016)

This gigantic ring, perched at the top of the lawn above the Underground Gallery, is made of hubcaps with a diamond made of whiskey glasses is a statement on consumerism and the greed for material possessions and wealth.

Solitario (2018)

The final work outdoors, sited near to Barbara Hepworth’s Family of Man, was this oversized ice cream cone constructed of plastic sand moulds of apples, pears, strawberries and croissants.

Tutti Frutti (2019)

As is usually the case with exhibitions at the YSP, this one merits another visit. Unfortunately the park is closed now for the foreseeable future.

Louise Bourgeois in the Rijksmuseum Gardens

Spider (1996)

If you’re scared of spiders, it’s probably best if you keep away from the Rijksmuseum Gardens at the moment! For the last few years there’s been an exhibition of works by a noted sculptor in the gardens, and this year they have works on display by Louise Bourgeois, who is well known for her bronze sculptures of giant spiders,

When we’d looked around the Tassel Museum we wandered along the canals, grabbed a bite to eat and then made our way to the Rijksmuseum. We expected that there would be an exhibition in the gardens and we knew we’d have time to have a look before we got the train back to Haarlem. And, unlike the main part of the museum, entry is free! We hadn’t checked out what was on but as soon as we spotted the first sculpture, we knew who the artist was! Luckily spiders don’t scare me, as several of the arachnid monsters are on display! !

Crouching spider (2005)

The gardens themselves are very attractive and popular on a sunny day – and the sun kept breaking through the cloud while we were there.

Louise Bourgeois grew up in a suburb of Paris, in a family of antique tapestry dealers and restorers. In 1938, following her marriage to the American art historian Robert Goldwater, she emigrated to the United States. It took a long while before her work was acknowledged, as it was quite different from the type of art popular in America at the time. and she only started to become popular in the 1970s when she was in her 60’s.

Her work often represents aspects of her life. the spiders, for example, are influenced by her protective mother who, although she didn’t spin webs, was a weaver and by the familie’s tapestry repair business.

I came from a family of repairers. The spider is a repairer. If you bask into the web of a spider, she doesn’t get mad. She weaves and repairs it

Spider couple (2003)

This was probably the only one of the 12 sculptures on display I wasn’t so keen on. It rather reminded me of the monsters that used to appear in Doctor Who in the 1970’s – perhaps that’s why!

In and Out #2 (1995-6)

This was the earliest work on display. It’s quite different from the others and rather like the works of Brancusi. It’s apparently meant to be a self portrait of the artist surrounded by her 3 children.

Quarantania (1947-53)

Welcoming Hands (1996)

This rather moving group of bronze sculptures displayed on rough stone pedestals, represent friendship and solidarity. They were originally displayed in New York on a site with a view of the Statue of Liberty and Ellis Island, where immigrants first arrived in America, although they are now normally sited in the Tuilleries in Paris. Their message has a contemporary resonance with all the movement of people trying to escape war and poverty, looking for a better life. Some people show friendship and solidarity to them. Sadly, in these cruel times, too many don’t.

This sculpture of a child’s hand was particularly touching (emotionally, that is, of course)

Fountain (1999)

Untitled (2004)

These two high-gloss aluminium sculptures of Untitled (2004), hanging from the branches of the great wingnut tree, refer to her father’s habit of storing chairs by hanging them on roof beams in the attic of their home

Inside the museum entrance atrium there were four seats in the form of giant eyes

Source: https://www.azquotes.com/author/18216-Louise_Bourgeois

Basketry in Ruthin

Last week we were in North Wales where we’d booked an apartment in Anglesey, on the coast between Menai Bridge and Beaumaris for a family holiday. It’s only a couple of hours drive from home (or a bit longer during holiday times as the A55 gets chocker with traffic at the weekend) and we couldn’t get into the apartment before 4 o’clock, so we decided to break the journey by visiting the historic town of Ruthin, in the Vale of Clwyd. We parked up by the Ruthin Craft centre where we had a bite to eat in the excellent little cafe before taking a look round the current exhibition.

The Craft Centre is something of a hidden gem. Located in a modern building on the outskirts of the town centre (on what used to be the site of the railway station before the line was closed back in the 1960’s) it has craft studios, gallery exhibition spaces, restaurant, craft library and, of course, a shop. Most of the craft studios seemed to be unoccupied (due to economic factors, no doubt) so it’s not really a place to see craftspeople at work. But it has a good, airy display space and they always seem to pull together a good programme of exhibitions which straddle the border between “craft” and “art”

The latest exhibition – Basketry: Function & Ornament – with works on display by 30 “creators”, had opened the day of our visit and was a good example of how “craft” and “art” are not necessarily different categories, but part of a continuum. The Craft Centre’s website tells us that the exhibition

brings together functional vernacular work from various parts of the country, alongside pieces that are sculptural and ornamental. It is a survey of a craft that has been somewhat sidelined in times of great technological advances, yet offers a sustainable answer to so much of our modern day throw-away habits.

Some of the works were traditional baskets and the like, all beautifully made,

Baskets by Mandy Coates

Baskets by Mandy Coates

but many of the works were artistic, sculptural forms that were decorative rather than utilitarian. There were some exquisite pieces – works of art created using traditional craft techniques.

Piece made of willow by Lizzie Farley

Piece made of willow by Lizzie Farley

Piece made of willow by Lizzie Farley

Three pieces by Mary Butcher

Burden baskets made of carbon steel wire by Stella Harding

Nests made by Joe Hogan

Kimsooja: To Breathe at the YSP

While we were visiting the YSP the other Saturday, we made a particular effort to go and take a look at the exhibition in the old Georgian Chapel building. It’s a really beautiful, very contemplative, space and the YSP use it for some inspirational installations.

As part of the Yorkshire Sculpture International, the YSP commissioned the South Korean artist Kimsooja to create a work in the chapel. It’s a simple concept – the floor has been covered with mirrors and the windows with a special nanopolymer diffraction film. A recording of the artist breathing, with changing rhythms, was also played.

The film diffracts the light shining through the windows splitting it into it’s component colours and creating rainbow like patterns on the walls and ceiling which are reflected by the mirrors on the floor.

The patterns will vary depending on the light coming through the windows and so will change with the weather and the time of day.

It’s a very beautiful work.

The YSP website describes it as a

visually spectacular and meditative installation, creating an intimate and shared encounter.

I have to agree!

As with other works we’ve seen in the chapel, photographs can’t do it justice. It needs to be seen and experienced.

Only a limited number of people are allowed in the chapel at a time for this installation, so we had a short wait before we could enter. Visitors were also asked to try to not make too much noise so that everyone could experience the contemplative atmosphere. We were also asked not to touch the floor. Of course, not everyone respected this (sadly) and one family were not just allowing their children to lie on the floor but seemed to be actively encouraging them to do so. At the risk of coming across as a “grumpy old man” (which I guess I am) I sometimes despair at the behaviour and lack of respect of some people. But it didn’t spoil the visit.

There’s another work by Kimsooja on display in the YSP grounds – a 14-metre-high sculpture A Needle Woman: Galaxy was a Memory, Earth is a Souvenir . There are similarities with the installation in the chapel in that the tall. conical, needle like structure consists principally of transparent acrylic panels coated with the nano polymer, and with a mirrored floor. Sunlight shining through the panels is diffracted and split into different colours producing patterns which change with conditions, the direction of the sunlight and the position of the viewer.

And looking inside the structure at the mirrored floor makes it look as if the sculpture extends deep into the ground.

It’s not as mind blowing as the installation in the chapel, but an interesting work, nevertheless.

David Smith at the YSP

David Smith: Sculpture 1932-1965 is YSP’s headline exhibition for 2019 and their principal contribution to the inaugural Yorkshire Sculpture International. As usual with their main exhibitions there are a large number of works in the Underground Gallery, with more outdoors, outside the gallery and up on the large lawn.

Smith challenged sculptural conventions and was the first artist in the USA to work with welded metal, becoming known for his mastery of steel. Although hugely influential to the development of abstract sculpture internationally, few of his works are held in non-US public collections, so he is rarely shown in Europe.

Smith was an innovator – he was the first artist in the USA to work with welded metal, rather than carving or casting. He wasn’t the first to do this, he was influenced by Picasso and the Spanish sculptor Julio González, but he took the idea and developed it. He was also influenced by Russian Constructivism, Piet Mondrian, and Alberto Giacometti’s biomorphic forms. He influenced others too, including the British sculptor, Anthony Caro.

His works are industrial, influenced by his experience of working as a welder and riveter in a car factory  during a summer job and during WWII he worked as a welder for the American Locomotive Company, Schenectady, NY assembling locomotives and tanks.

At first, Smith used an oxyacetylene torch, but during World War II he mastered electric arc welding at the American Locomotive Factory.   He ran his studio in Bolton Landing, upstate New York, like a factory, stocking with large amounts of raw material and working to a routine, just like a factory worker (albeit one who worked long hours!).

As well as welding, he used other industrial processes, bending and forging metal.

And creating finishes using angle grinders, to score the surface of the metal, and paint.

In 1962, he was invited by the Italian government to relocate and create sculptures for the Festival of Two Worlds. He was given a warehouse and a team of artisans who helped him in producing 27 pieces in 30 days. After his time there was over, still buzzing with ideas, he had tons of steel shipped back to Bolton Landing to keep working. 

There’s an interesting article about his life, working methods and creative process by his daughter, here.

An early start for the YSP

It was our wedding anniversary last Saturday (6th July), a cause for a celebration. But there was another reason why it was a special day.

We were up early, despite it being a Saturday, to drive over to the Yorkshire Sculpture Park. It’s a favourite place which we usually visit 2 or 3 times a year to see exhibitions and enjoy a walk through the park. This time, however, we were going to a special event. For Christmas I’d paid for my wife’s name to be cast in iron as part of the “Walk of Art 2” on the pathway leading into the new visitor centre, the Weston. The second section of the walk, which includes her entry, had been recently installed and we were attending the official opening.

There were speeches by Peter Murray, the YSP’s Director, Gordon Young, the artist who designed the work as well as his granddaughter

Peter Murray

Gordon Young

Gordon Young and Sophie, his granddaughter

We then went outdoors where the artist and his grandchildren cut the ribbon to officially open “Walk of Art 2“

Cutting the ribbon

The names are cast in iron on a series of plates (my wife’s entry is on Plate 27) . Newly installed they were reddish-brown but will change over time due to weathering. The first set of plates, installed a few months ago, had already weathered and were more of a silvery-grey colour.

My wife’s name is on one of these plates

but you’ll have to guess which one it is!

The new visitor centre is at the far end of the park, on the car park nearest to the M1. It’s quite a lot smaller than the main centre, but has a restaurant, small gallery and shop. The design is quite clean and simple, constructed from layered pigmented concrete with lots of wood and glass

The architects have designed in sustainable features such as natural ventilation, an air-source heat pump, a low-energy environmental control system and a wild-flower roof .

Inside the Weston’s gallery

The new visitor centre has opened up the far end of the park for displaying art, which make it even harder to see everything in one day’s visit!

Currently there are a number of works by Damien Hirst, the Leeds born artist, on display as part of the Yorkshire Sculpture International exhibition which is being run in partnership with the Hepworth Gallery, Leeds Art Gallery and the Henry Moore Institute in Leeds.

After the ceremony we strolled across the park to visit the new exhibitions that have opened in the Underground Gallery and the Chapel – I’ll be writing them up in a couple of other posts – and to have a wander round the park looking at some new exhibits as well as some old favourites.

The One and the Many

The reason I’d decided to wander over to Fitzrovia while I was in London last Wednesday was that I wanted to take a look at a sculpture by a favourite contemporary artist, Peter Randall-Page, which is sited in a new development, Fitzroy Place, off Mortimer Street. It’s right next to the Fitzrovia Chapel, a Grade II listed building was the former chapel of The Middlesex Hospital.

‘The One and The Many’, is sculpted from a 24 tonne naturally eroded granite boulder and inscribed with many of the world’s scripts and symbols. 

The scripts carved on the work are all related to cosmology and the material/poetical formation of the universe. I shot a few close ups.

Translations of all the scripts can be seen on a website devoted to the sculpture. The website also includes some photographs of the artist at work on his creation.