I’ve liked Rachel Whiteread’s work ever since I saw her House in Bethnal Green and though I don’t care for the insides of rubber hot water bottles shown on the Tate Britain poster I pretty much liked everything else in her exhibition.
I think this resin hive was my favourite though I found it hard to choose. I loved the way the light was reflected inside it.
It made me want to crawl inside.
I’d forgotten that Rachel Whiteread’s Untitled Monument 2001 was the third project to be placed on Trafalgar Square’s 4th plinth.
The first project in 1999 was Mark Wallinger’s Ecce Homo, a life sized figure of Christ and the 2nd was Bill Woodrow’s Regardless of History 2000 which is a head crushed between a book and the roots of a tree.
You can read my memoir Woman in a White Coat on Amazon Kindle as well as Google, Kobo, Barnes and Noble, and iBooks.
Just now the 4th plinth in Trafalgar Square has this enormous thumb by David Shrigley – the sign for Everything Is Good. Unveiled on September 29th 2016 the ten-meter high hand gives a thumbs up to London, Londoners and our Visitors.
I hadn’t noticed the hand until I saw this T shirt, mug, tote bag and badge in the Royal Academy shop. There hasn’t been an exhibition at the Sainsbury Wing of the National Gallery for a while and I don’t normally walk or look that way.
Loved our trip to the Astrup Fearnley Modern Art Museum on the bay. Couldn’t understand why the collector bothered with so many of Damien Hirst’s half animals in formalin. When there was a scandal about keeping children’s brains I turned out my mounted specimens of cancers but I thought of offering the museum the head of my fractured right femur. I still have it in a jar in my bathroom cabinet – much more interesting and educational that half a cow.
Lovely view of the harbour complete with two-masted sailing vessel. Just not enough time to go across to the Viking museum.
I very much liked their collection of Cindy Sherman’s photographs. Amazing what she can turn herself into.
Hard to realise that this painting Untitled #152 of what apprears to be a bald man is also her.
We both liked Jeff Koons’porcelain Michael Jackson andBubbles, his chimpanzee, in white and gold. Seeing Koons’ name reminded me of the hallucinations i had in the High Dependency Unit (HDU; dependant on care not on drugs) following my heart attack last August after I came off the ventilator.
Memoir extract from Chapter 28 of Woman in a White Coat
Aren’t we Londoners lucky? Just one great exhibition after another.
I liked best the photographs of Matisse (1869-1954) in his studio surrounded by the myriads of objects he had collected over a long life time. Of the original objects on display I most liked the Moroccan table and the little ivory figurines from Africa. The enormous African masks were intriguing and terrifying.
I have mixed feelings about his paintings but I love his drawings. The shop had a collection of reproductions on sale – at £198 a bit outside my price range!!
Lots of theme based artefacts in the Royal Academy Shop including jugs and cups based on Matisse’s collection.
Another interesting retrospective of Giacometti’s work, though I preferred the exhibition of his portraits at the National Portrait gallery with lots more paintings and a broader view of his oeuvre. You can’t get very close to his small elongated sculptures and from the distance you are kept from them it’s hard to distinguish one from another
Most of the exhibits were sculptures – a surprising number of lifelike heads in the multitude in Room 1, as well as some of his signature long thin sculptures. Once again I was frustrated by having the titles of everything so far from the objects.
The enormous double life-size sculptures in the last room were amazing but one of the best things in the exhibition was the film about him, showing the amazing care with which his clay figurines were made – his hands darting rapidly from eyes, to crown and to mouth, modelling with fingers, knives or modelling tools.
For some reason, the coffee on the exhibition floor is always better than that in the downstairs café and the view from the balcony of the 3rd exhibition floor is stunning.
Looking around gallery shops is always a pleasure, though we might buy a couple of things for the grandchildren, rarely for ourselves. We have accumulated too many things!!
Born in Barbados in 1959, he has moved around the world ending up in New York in 1982.
It’s hard to choose which of his work I liked best. This sculpture of colourful flowers growing out of skulls is certainly high on my list. The texture and colour of the stone container are gorgeous. The painting behind is Red Scooter (2009) a joyous vision of a family and their dog riding a red scooter on the beach.
Love this sculpture of a woman balancing on a pile of coconuts and holding another hammer-head shark .
The serene painting on the wall behind is K.T._K.T (2015).
Another interesting street sculpture in Westminster. This sculpture of icy white needles – seen here reflected in the rain – was created by the British Artist Lee Simmons. Close to Westminster City Hall it is dedicated to the 82 council officers who fought and died in the First Word War.
Finally got round to visiting the new 10-storey Tate Modern extension – the Switch House which opened June 2016 by the same architects – Herzog & de Meuron – who converted the original derelict Bankside Power Station that opened in 2000.
A brilliant use of light and space, though a bit overwhelming for someone like me, who has no head for heights. After looking though the tall window on the first floor into the Turbine Hall and turning back to a stark very tall white wall I needed to rescued by Josh before I could move!!
Liked too many of the installations to list them all but Tony Cragg’sStack – a cube of raw ands prefabricated material – comes high on my list as do Ana Lupas’sThe Solemn Process 1964-2008, Carl Andre’s Equivalent VIII 1966 and Gego (Gertrud Goldschmidt’ s) Horizontal Square Reticularia 71/10 1971.
I particularly liked the room of videos which you turned on by standing in a spotlight.
I well remember the first end of year show at the Royal College of Art where videos were shown and thinking this wasn’t real art. How our ideas have changed so that now they are not only acceptable but expected.
For us, no visit to a city is complete without going shopping and exploring at least one art museum.
The Konstmuseum at Gothenburg, a stark edifice on the outside, had two exhibitions – ‘Watched – Surveillance, Art and Photography’ an exhibition of photographs that explored the extent to which we are all subject to surveillance and included a hologram of a woman who spoke greetings in several different languages. and Gränslöst– Unbounded. The Eighteenth century Mirrored by the Present, an exhibition giving the modern take on 18th century art. There are also several floors of their permanent collection of Scandinavian artists and a room of impressionist pictures we were unfamiliar with.
Eighteenth century porcelain amazed us with its detail. I tried to imagine what it would have like working often under poor lighting with a soft material that would flow this way and than and maybe all for a pittance.
There were unsettling modern porcelain figures by Christian-Pontus Andersson, so different from the delicate waif-like ballet dancers of Degas , especially his Little Dancer of Fourteen Years.
I had been to lectures in the Sainsbury Wing of the National Gallery on upcoming exhibitions but it wasn’t until I looked through their Spring What’s On that I discovered these brilliant lectures on the History of Art. I’d unfortunately missed the first two modules but the first on of this term’s module 3 was fantastic. The tutor, Lucrezia Walker, first pointed out the main differences between the rather static, formal Renaissance art and that of the Baroque period using Bernini’s sculptures as illustrations.
She then went on to discuss Caravaggio’s work in depth – his time in Rome, his flight to Naples and then on to Malta only to die while attempting to return to Italy.
I’m not sure what I expected from his self portrait – perhaps more of a bully0boy in keeping with his reputation as a brawler and out-spoken difficult man. I hadn’t realised that at the time some of his works were considered too sacrilegious and that he had to repaint them.
He certainly admired young boys, whether only as models for him, and painted them as luscious objects. His meticulous baskets of fruit are tongue-in-cheek with evidence of decay and dissolution for the close observer.