"It is the duty of artists to connect [themselves] to social change" — Ai Weiwei on "Trace at Hirshhorn." Not everyone is a fan of this installation which is manifestly political and, maybe worse for lovers of "true" art, unapologetically didactic. But I'm a fan because good looks and easy themes don't cut it these days — at least not for me. #aiwwhirshhorn #aiweiwei #hirshhorn #contemporaryart #activist #art #activistart #washingtondc #museum #artmuseum #museumlover @aiww @hirshhorn
I wrote this essay after seeing the works of French “process painter”, Bernard Frize. Taken together with my impressions of the first museum show of Rana Begum at the Sainsbury Centre, it’s obvious that art is undergoing a seismic shift which mirrors the changes taking place in contemporary society. The quoted texts are from a fantastic essay by curator Eva Wittocx.
THE ARTIST AS LABOURER: “Frize burst the cult of the artist as a creator. In his view, the artist is not above anyone else: he is merely a ‘labourer’ who produces paintings.
THE REPUDIATION OF SUBJECTIVITY: As opposed to Abstract Expressionists who sought to express a certain emotion, Frize does not use painting as a ‘medium’ to express something. Therefore, the public need not decode the subjective content of a Frize painting. There is none. Rather, Frize’s art is the result of experimenting with process and technique to achieve different visual outcomes.
THE DEMOCRATISATION OF THE ARTISTIC PROCESS: Indeed, “Frize wants the public to be able to deduce every choice the artist makes from the work of art: ‘Every decision of the artist, the public must be able to infer from the painting. The public must be able to find out how the painting has been made, as if it had painted the work itself.” Reasoning logically, tracing the stream of paint, trying to read the combinations of colours, the public is able – without resorting to any frame of reference – to deduce directly how the work was created. To erase any suggestion of subjectivity, Frize moreover applies a glossy layer of resin to the canvas, so that any painterly effects attributable to materiality are eliminated, assuring the complete detachment of his paintings. All this is not to say that Frize’s paintings provoke no emotional or psychological response within the viewer. No, not at all. Simply, the public projects its own subjectivity and longings for expressive content on his artworks.
The ascendancy of artists like Frize and Rana Begum force one to ask, are we entering a new phase of art which prefers technique and effect over the masterful expression of affect? (By the way, the Centre Pompidou will be staging a retrospective of Frize’s work in 2019.) Will we one day regard artworks created to express a subjective idea or emotion as old-fashioned and quaint? That day is not around the corner. But the increasing recognition and popularity of “process art” mean that we badly want art to represent more than a veiled message.
to create a corpus of work which defies easy classification, except for the cornerstone of keyboard instruments; on the necessity, today, of being a jack-of-all-trades, a new graduate who seeks to make a living as a writer can’t just write brilliantly. They must be able to promote themselves effectively on social media, create and continuously update their own website and, these days, make video content to accompany their written work. For that matter, it’s hard to stand out in a crowd unless you know how to aggressively promote and distinguish yourself from your peers; if you’re still ensconced in a cushy corporate job, these prescriptions don’t apply to you. But keep in mind that your species is now officially instinct and, therefore, hold on very tight to that job! My first outing of the day is to the Saatchi Gallery and the exhibition, From Selfie to Self-Expression, which turns out to be much more thought-provoking than I ever would have expected; first, the display of Old Master paintings in the format of continuously moving slideshows projected on video monitors means that viewers must pay much closer attention than usual to the artworks in order to ensure that they don’t miss anything on display, no doubt a paradoxical result for viewers unaccustomed to paying more than a few nano-seconds of attention to anything; next, there’s no original artwork on the ground floor at all. Such a presentation asks the question: without any presentation of real artwork or consideration of its materiality, isn’t this “art exhibition” really a conceptual exercise which could have taken place outside of a museum? Not having to consider materiality means I can blow through the exhibition FAST; just met with the executive director and communications director of fantastic London-based, art non-profit, Studio Voltaire. Studio Voltaire promotes and brings attention to emerging and, sometimes, ignored, artists, like Phyllida Barlow who represented Great Britain at this year’s Venice Biennale; can’t believe Fabio Fognini beat Andy Murray at this year’s Rome Open! It’s Murray’s worst match in FOUR YEARS; my fave Indian restaurants in London aren’t Gymkhana or Trishna. But non-trendy Zayna. And my absolute fave, Chutney Mary.
It takes guts, leadership and vision to take The Red House in such a direction and proves that she is a torchbearer of the Britten’s unconventional lifestyle and career; I drove over to Snape Maltings after The Red House to meet with Roger Wright, the director of the entire Snape Maltings complex, which, these days, encompasses Aldeburgh Music, the Aldeburgh Festival and the retail complex formerly owned by the Gooderhams, a Suffolk family. I was treated to a personal tour of the whole shebang, which was a privilege and treat.
I check out Bedford and, like so many ancient English towns and cities, its historic center is beautiful and charming; I end up canning my plan to hoof it over to the Milton Keynes Art Gallery in favor of the local Higgins Museum, highly recommended by Edgar;