Wednesday, February 08, 2017

Second week of Intro to Tate Modern and at home to (39)

What I like about the Tuesday morning Intro to Tate Course (CityLit) is how absolutely packed it is with 'stuff'  - and at the end of it you've got things to think about and follow up - 17 of us this week and I think too many more would be a challenge in such a busy exhibition space.

Untitled by Rudolf Stingle (1993)
We started at the same point as we had the previous week on the fourth floor but what I and (and I think others) had not observed is that this itself was a 'work'.

In fact this work has already challenged my distaste for the 'Untitled' label - what would/could you call it? It's this or the minimal Orange Carpet I suppose.

The work allows the viewer to engage and make a mark  - reminding me of those early cave paintings but I suppose it's a touch of subversion too in what many of use take as a sombre viewing experience.

Seems the artist Rudolf Stingle has a bit of history of these works - CarpetRight anyone?

We took a look at Mondrian's works too and it generally on closer observation felt more complex than a quick look would suggest -I remain amused about his falling out with a colleague who started doing some non linear work (although he started in a representational style) .
Sparse even by Mondrian's standard

And with added Blue and Yellow

And nearby building reminded me of the 'De Stijle' style too 

We took a look at works by important America 'pop Artists' Andy Warhol and Ed Ruscha too

A variety of prints of an Electric Chair 

Another  famous work by Andy 

Andy gave good quote too and Ed used (and uses) text .

An example of the man's words

Ed Ruscha  uses words in his works

As well as  Pop we had a look at some interventionist works as well as (perhaps) conceptual (isn't it all?).

Parthenon of books by Marta Minujin - it's about Argentina and made from books  that were banned during the junta time there
And nearby two works about Coca-Cola their appropriation of  a font (Antony Caro)  and printing slogans on mass produced cultural symbols (Cido Miereles) .

A bit out of character for Caro?

Look at the words added 

How are photographs of intervention viewed as Art - does a photograph stand in effectively?

Salt Flat (1968) And a  Directed Harvest (1966)  both  by Dennis Oppenheim 
These two I find aesthetically pleasing and interesting as (perhaps) a reference to some of the Walking Art of this period.

After this we spent some time in the Switch looking at work which I again would characterise as being about materials (more about this later).
Clocking in at £52 21

At this weeks visit we also asked ourselves about the White Cube gallery concept - walls that do not intrude or comment on the work - seems a white floor too would be excessive and they're generally neutral and in case of Tate Modern Wood.

Front Doors (all roads lead home)

As they say and here it does..

Said to have been used by Steptoe & Son

The Old Front Door looks the same 

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