Funky Cards
I love postcards.
They’re functional, but also a pure form of creative expression. A small space to put across pretty much anything you want: humour, a photo, a saying – even a feeling.
So I was pleased with this little find in the Ikon Gallery shop – 100 Marimekko postcards for £14.99.
You get 2 each of 50 designs from Marimekko – a Finnish fashion and design house most famous for the Unikko print design.
The designs are fabulous – especially for a colourblind person like me – bold, bright colours in simple yet striking designs and patterns. And they come in a gorgeous box too.
Learn more at marimekko.com and chroniclebooks.com
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Damien Hirst (and others) at the New Art Gallery, Walsall
I seem to be having my own mini artsfest this week – yesterday I was at the Ikon Gallery, and today was my first visit to the New Art Gallery in Walsall, where there is an exhibition of Damien Hirst’s art.
I’ve never seen any of Damien Hirst‘s installations, so I was looking forward to finding out how I would react to works by one of the world’s most controversial artists.
One of the most famous works is ‘Away from the Flock‘ (1994), which is a lamb in formaldehyde. My reaction was basically ‘it’s a lamb in formaldehyde’. There was no real emotional reaction to it as a dead animal – my fascination was more about the process of preservation, and the flawless nature of the formaldehyde. It definitely IS art, because it’s the unique creation of the artist. And it generates debate. But I have to say that as a statement, it seems rather weak.
My strongest reaction was to the photograph ‘With Dead Head‘ (1991), which is shocking and disturbing, and deals with reactions to death much better than the lamb. The fact that the artist is smiling and seemingly dismissive of the head along side him makes it a much more powerful image. I felt torn between emotions for the dead man, and the realisation that there was no man there: just a lifeless head of someone who had long since departed.
Overall, I’d have to say I’m not really a fan of Damien Hirst. I do like to be challenged by art, and I do appreciate that his creations require considerable talent to produce, but his work doesn’t really say a lot to me.
There is plenty more to see at Walsall, however.
The exhibition of works by Jacob Epstein is magnificent – in fact, I spent a lot of time viewing the whole Garman Ryan collection, which is presented in themed rooms – and works rather well. The works by Theodore Garman – of which there are several – are particularly special.
Up on the third floor, you’ll find ‘The Nature of the Beast’ and ‘Our Creatures‘ until the end of June 2013 – featuring both real and imaginary creatures. Patricia Piccinini’s ‘Sphinx‘ (2012) is a rather unsettling example of the latter, and is such a visually powerful image that you wonder why there is no associated smell emanating from it. It really is quite repulsive.
The gallery itself is magnificent – although with one reservation. It follows the trend of so many museums and galleries that are desperate to position themselves as ‘accessible to families’. What this really means is that they believe that families won’t bring their children with them unless there are options for play scattered throughout the gallery. I think such an approach is unnecessary and patronising, and distracts from the purpose of the galleries, which is to showcase art.
Sounds harsh? I have nothing against creating family-friendly spaces within the building, to encourage parents and children to explore art together. That general strategy should be applauded. But when a child is brought into one of the galleries and runs straight for the jigsaw or wooden blocks in the corner – then rather than introducing a child to art, I believe we are providing them with the opportunity to ignore it. If a child is brought to an art gallery by a parent, then that parent should take the responsibility to introduce the art to the child at a level that’s appropriate. Whether that’s saying ‘look at that funny creature’ – as one parent was doing today – or asking engaging questions, such as ‘how long do you think it took to paint that?’ – it’s the parent’s role to engage the child. If the child gets bored – as they inevitably will – then it’s time to go off and find the glues and paints.
The New Art Gallery, Walsall, has free admission and wifi, a Costa coffee shop and a small art bookshop. You can visit their website here.
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Sanctuary in Art
My ability in art began and ended with my Art GCSE (grade C, in case you were curious). I’m colour-blind, and so was never going to cut it as a water-colourist or similar, although I can just about manage to create a depiction of something in pencil if I put my mind to it.
My enjoyment of art is not in its creation, though.
I get lost in art. Now if that sounds a bit wanky, then so be it, but for me there are few things as relaxing and fulfilling as looking at creations that provide pleasure through their own form – finding the hidden detail in something that at first appears simple; appreciating the talent in the creation of something that has an emotional impact; returning to favourite pieces and seeing something different each time.
I’ve never studied art, but I’ve learned a lot over the years from pursuing my own interest in it. I’ve seen Picassos in London, New York and Chicago, spent hours in The Hague viewing MC Escher’s impossible masterpieces and marvelled at Kit Williams’ fun clock in Cheltenham. Every second has been worthwhile.
Living in Birmingham, I’m surrounded by public art – one of the great pleasures of living in a big city. From the Iron Man to the now sadly destroyed Forward Statue, Birmingham’s public art never ceases to amaze and inspire. One of my favourite pieces – ‘Spirit of Enterprise‘ – is currently in storage while the Library of Birmingham is completed – which itself is an incredible work.
In this world of homogenisation – where everything is mass-produced – the opportunity to appreciate something unique is precious. Public art provides this in the most unexpected of places; ‘The Sentinel‘, for example, surely deserves a much grander ‘plinth’ than a busy suburban roundabout – but then, while its appreciation is often limited to a few sideways glances while driving towards the M6, how many people would be denied that pleasure if it was secreted away in a park? (And it does stand at one end of a former World War 2 spitfire runway.)
I’ve recently started to build my own collection of original art. Good, original art can be affordable – it’s possible to pick up original ceramics, for example, for as little as £20-£30. I bought this little bird from a pottery fair today for £25. What I love about him is that he’s simple, yet unique.
I’m also proud to own an original piece by Robert Bowers – a sculptor from Dudley whose larger works are worth a fortune and are owned by the likes of Tony Blair. I was lucky to stumble across an art exhibition where he had created some rare pieces specifically for lower end collectors – and so I snapped one up despite having barely enough in my account to cover it. It has pride of place above my writing desk.
Public art should be made as accessible as possible, so I’m going to start taking photos of public art installations and post them on here under ‘Public Art’. I’ll probably work my way around Birmingham first of all, although it will provide me with more motivation to actively seek out other art that’s ‘off the beaten track’.Yesterday, I visited an exhibition in Oakham entitled ‘Favourite Haunts’ by Philip Dawson. It’s on at the Victoria Hall Gallery until May 12th, featuring beautiful, colourful depictions of the artist’s favourite haunts around Rutland and beyond. It was a pleasure to see such talent on display.
And finally, if you’re ever in Birmingham, do check out the Ikon Gallery – a wonderful gallery comprising two floors that often contain challenging, thought-provoking, beautiful art.
What better antidote to the stress of the modern world?
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