Saturday, 25 March 2017

Edmund De Waal in Leamington Gallery




Edmund de Waal in Leamington Art Gallery.




Stet #14, 2009

A set of 14 cylindrical porcelain pots encased within a long thin cabinet, part of the Journey Through Japan exhibition.





They are all the same, all different, each subtly changing. They vary in height, and in their diameter. In monochrome white and cream glazes, with the addition of one yellow vessel. They are long, thin, thrown at different heights with an additional lip at the opening. They have neither handle nor spout. In the celadon glaze there are 'potash feldspar, dolomite, bone ash, china lay, quartz and talc'.   In the yellow glaze there is 'whiting, flint, talc, dolomite, bentonite and nepheline svenite'. Sometimes there is a fine strip of gold leaf.





This piece is interactive and one is invited to change the order of the pots, which is what I did. Pots are tactile - they need to be touched.

Although the composition of pots is important to the interpretation of De Waal's works, he is interested in the idea of installations that can be changeable. A Stet (Latin for 'let it stand') is an editor's note used for proof reading. It tells the publisher to disregard any former corrections made to a text. Stet #14 conveys the idea that you can do something, make a mark and then it may be changed. It evokes a sense of randomness and enjoyment in the endless rearranging of the vessels.






Thursday, 23 March 2017

Night in the Museum




Night in the Museum, curated by Ryan Gander, at Birmingham Museum and Art Gallery.





The Gas Hall was full of delights from the touring exhibition of the Arts Council collection.




Jacob Epstein,  Rock Drill (polyester resin, metal and wood). The sculpture was reconstructed by Kenneth Cook and Ann Christopher in 1973.






a different view




Barrie Cook, Dean, 1977 (oil applied with spray gun on cotton duck)





Raphael Hefti, from the series 'Substraction as Addition', 2013 (museum glass)





the above sculpture reflected in Matthew Darbyshire, CAPTCHA No. 21 - Doryphoros 2016, (multi-wall polycarbonate)





Angela Bulloch, Plastic Sphere Cube Triangle (blue) 2010, (plastic, electronic, blue fluorescent lamps, DMX-Controller and assorted black cables)





Frank Dobson, Portrait Bust of Lady Keynes (Lydia Lopokova), 1924





Ralph Brown, Mother and Child, 1954 (bronze)





looking closer



Henry Moore, Seated Figure against a Curved Wall, 1956-67 (bronze)












Kevin Jonzen, Seated Nude, 1951, (terracotta)





Sean Scully, Wall of Light Blue, 1999, (oil on linen)




Leonard McComb, Young Man Standing, 1963-77, (bronze)





Kenneth Martin, Chance, Order, Change 2, 1976, (ultramarine blue)




Don Brown, Yoko XX,  2007, (acrylic composite, gesso and wood)








Stella Steyn, Girl in Blue Dress, 1951, (oil on canvas)





Frank Dobson, The Fount, 1947-48, (patinated plaster)








William Scott, Berlin Blues 6, 1966 (oil on canvas)





Lynn Chadwick, Cloaked Couple 1, (Jubilee Maquette), 1977, (bronze)





Ben Nicholson, Feb 25 1953 (contrapuntal), 1953, (oil on canvas)





John Davies, Figure with Slats, 1973-75, (fibreglass, polyester, cloth and emulsion)
















Germaine Richier, La Feuille, 1948, (bronze)





Edgar Degas, Dancer at Rest, 1870-1900, (bronze)





F.E. McWilliam, Reclining Figure, 1946, (terracotta)










Ryan Gander, As Old as Time Itself, Slept Alone, 2016 (bronze and wood)




This delightful sculpture is one of eight new works commissioned by the Arts Council Collection to mark its seventieth anniversary year. It was inspired by The Little Fourteen-Year-Old Dancer, by Edgar Degas. Gander became fascinated by the ballerina's melancholic stance, her body tethered by the 'ball and chain' of her plinth. Gander's dancer is wearing a modern-day leotard rather than a tutu, and she is accompanied by her white plinth and a blue cube, which for Gander represents the realm of contemporary art. She lies asleep on the floor, exhausted by her explorations of the contemporary art gallery, She finds shelter by the large blue cube, and keeps close by her little white plinth, which has shrunk to a toy-like scale.





Patrick Caulfield, Dining Recess, 1972 (oil on canvas)





Henry Moore, Head of a King, 1952-53 (bronze)





Kerry Stewart, Untitled (Lucy), 1996, (fibreglass and paint)








Tuesday, 21 March 2017

Revisiting Croome Court



Another dull, grey day. Despite that, it was very enjoyable, particularly since the grounds are extensive and we managed to have a nice, long walk. The entrance to the National Trust property leads to a narrow path and then you find yourself at the top of the hill looking down at the extensive grounds and the house on the left.

The grounds were designed by Lancelot Capability Brown in the mid 1750s. It was the first complete landscape designed by Brown who pioneered the shift from formal gardens to more natural looking landscapes. Before Brown worked here the land at Croome was a boggy marsh called 'Seggy Mere'. With his engineering and drainage skills Brown created a long lake which is a mile and 3/4 long and looks like a river winding through the parkland.

Over 5000 different species of plants were brought to Croome from all over the world, including some discovered on Captain Cook's South Pacific voyages. By 1801 Croome's botanical collection was considered second only to Kew.






The church of St Mary Magdalene is on top of the hill





and we decided to go inside and have a look.










I liked the simplicity of the door.





Nearby is the Ice House.





The walls of the ice house are double-skinned to maintain a consistent cool temperature below ground. Chunks of ice were carted from the nearby pond in the orchard, unloaded on the paved area at the entrance and packed into the chamber of the ice house.







The chunks of ice were layered with straw for extra insulation The ice was not used in drinks, but taken to the house throughout the year to preserve food and to create desserts such as ice cream and sorbets.






We left the ice house and continued on this path





the trunk of this tree made us chuckle



we wondered which storm had unearthed the roots of this tree



 

and then we reached the Rotunda.








magnificent ceiling



nice floor




cattle in the distance.





the first daffodils of the year





We continued down the hill and reached the house





We visit National Trust properties for the landscape and the walking. This time however we decided to go inside





In the entrance hall we came across Chair Play by William Datson. It strongly reminded me of some of Ai Weiwei's work.

The three mahogany chairs form part of a set of ten bought by the owners around 1759. Chairs of this style were traditionally placed around the room against the walls. They were practical for servants or people visiting the house on business who may have arrived with wet clothes. The rest of the chairs are replicas made of plaster over a steel skeleton.





Restoration in progress.






In the basement we came across Soul to Sole , an installation of shoes crafted by 27 different artists representing some of the inhabitants of the house through the centuries.
















We left the house and started walking. In the distance we could see the Orangerie or the Temple Greenhouse, as it's called





zooming in




The Chinese bridge looked very appealing




so we crossed




over the lake




we got a good view of the house from here





the island in the middle of the lake and the grotto on the far right





the path that leads





to another bridge




Ken gazing into the distance





another path




along the lake





and we reached the 18th century grotto





with Sabrina on the edge




zooming in on the church on top of the hill





the Temple Greenhouse designed by Robert Alan in the 1760s





The path leading up to the church and the entrance to the property was very fragrant.





Daphne odora was the source of the heavenly smell, as bushes lined both sides of the path all the way to the top.





Before heading back home we stopped for lunch which was served here, one of the buildings used by RAF Defford airbase, which has been restored.

RAF Defford became the main station in Britain for the development of airborne radar during and after WWII. The airfield housed the Telecommunications Flying Unit, carrying out flight trials for the Telecommunications Research Establishment.  The experiments and developments carried out at Defford were of great historic significance, for they played a vital part in helping the Allies to win the war, and paved the way for many electronic applications that we now take for granted.