Art: Frank Bowling

Frank Bowling

Hi everyone! How have you all been? It has been a while since I last wrote a post. Life has been a bit of a rollercoaster and I have turned 30th!! Making The Pineapple Chicken Blog officially two years old ūüôā It is pretty surprising actually and what a journey it has become. There are no plans to stop posting and hopefully I will share a little art and wellness for many years to come.

Since I have not posted in a while, I realised that I needed to get this post out as soon as possible because it is last chance to see the wonderful Frank Bowling exhibition at the Tate Britain which finishes next week on the 26th August. It is the first retrospective of his works spanning 60 years, he is a true master of colour and paint. For me, the art was unique and otherworldly. I came out of the exhibition feeling completely zen and at peace.

Should you visit, I would recommend ordering the audio guide for the exhibition as it provides a lot more flavour to the wonderful pieces of his work and includes jazz pieces which inspired Bowling’s art. The guide also includes Bowling himself with his smooth baritone voice.

Frank Bowling

Born in Guyana in 1934, he moved to London when he was 19 years old and studied at the Royal College of Art alongside David Hockney. He continues to fly between London and New York studios mastering his abstract and visionary use of paint. Using countless methods and processes, from staining to pouring and different materials and object, the exhibition provides a key insight into his creative world. Now 85 he still paints every day, experimenting with new materials and techniques. For anyone who knows where I can get my hands of some of his artwork or even prints, please do leave me a comment or email message, I would love to see his work in my home.

Exhibition

In my usual format, the below is a walkthrough of the exhibition rooms and highlights of my favourite key pieces to look out for. Bowling is also one of the best artists I have come across when it comes to naming their pieces of work. Unlike others who prefer “Untitled”, for Bowling, there is careful consideration of naming his pieces of work. They would only be named after they are completed and he returns to look at the pieces.

  • Room 1: Birthday (1962) – This was an extremely powerful piece, though not visually beautiful, it is unforgettable. This painting was part of an exercise when Bowling was at the Royal College of Art where the theme was of birthdays. This piece depicted the intense pain of a neighbour giving birth. Inspired by Francis Bacon and this is reflected by the strong gestural strokes.¬† Room 1 holds his early work which demonstrated his interest in social and political issues as well his own personal narrative.
  • Room 2: Mirror (1964-6) – The painting dominated by this spiral staircase gilded with gold connecting the studio at the Royal College of Art to the V&A museum in London. The painting also includes a self-portrait and a portrait of his wife (at the time) Paddy Kitchen. Room 2 held paintings that were created during 1964 & 7, which was a tumultuous time in his life and career. In 1966, Bowling moved to New York to establish himself and it is in this room, we see Bowling use of stencils in his work.
  • Room 3: Barticaborn 1 (1967) – This is the largest room in the exhibition and introduces map paintings. In New York, Bowling stopping painting the human figure that was seen in his earlier works. Fields of colour are overlaid with stencilled maps of the world and silkscreened images, it is in this room, we start seeing different techniques of processing paint, from painting to staining. This focus marks Bowling‚Äôs rejection of the western-centric cartography of many world maps.
  • Room 4: Tony’s Anvil (1975) – Around 1973, Bowling stared pouring paint on a titled canvas to produce contrasting layers and colours from a height of two meters. The spilling paint created an energetic and innovative painting style, it is the first time we see bright and bold contrasting colours. #
  • Room 5: Vitacress (1981) – This is my favourite room in the whole of the exhibition. By the end of the 1970s, Bowling has mastered his techniques of painting that he had been working on over the past decade. He had a deep understanding of the dynamics of the flow of paint and the drama of colour combination. He created¬†Cosmic Space¬†through the use of¬†ammonia and pearlescence, and applied splotches of paint by hand, producing marbling effects. These are pure masterpieces of paint and personally, I thought made the whole exhibition worthwhile visiting!
  • Room 6:¬†Spreadout Ron Kitaj (1984-6) –¬†In the 1980s, Bowling started to experiment with texture in his paintings. This involved glueing various objects, including plastic toys, onto a canvas. He also made use of acrylic gel to extend the volume of paint, texture and transparency in his painting. There was a greater range of colours (often spanning the rainbow) and layering.
  • Room 7:¬†Great Thames II (1989) – This room brings together four pieces that were created in 1989 of abstract expressionism to capture Bowling’s interpretation of the¬† English landscape.
  • Room 8:¬†From V2-RS1 (2005) & Haze (2005) –¬† In the 1990s, Bowling continued to create with acrylic paint and gel and similar to Room 6, experimented further with materials and glueing of materials. It is also the first time we see smaller-scale paintings, one of which, is so simple, yet distinctive. This is the first time we also see a very subtle colour palette; making these also one of my favourite pieces.
  • Room 9:¬†Aston’splunge (2011) – Capturing all his skills in one piece, Bowling has combined pouring, spilling, throwing, brushing and dripping paint premixed with gel, water and pearlescence. It is just an explosion of colour. This piece refers to the middle name of his assistance and longtime friend Spencer A. Richards. The final room of the exhibition showcases recent art pieces over the past decade and at 85, Bowling continues to create in his studio and¬†experiment with techniques adopted over many decades, combining them into an infinite number of variations.

Bowling’s technical mastery, acquired through decades of experimentation, gives way to a remarkable confidence to improvise. He continues to establish, and systematically break, an ever-changing set of self-imposed rules. РTate

Master of painting and colour, the retrospective of Frank Bowling’s six decades of masterpieces is a trip worth making to Tate Britain. This blog rates the exhibition 5 out of 5 pineapples, so hurry as it is the last chance to see it as it closes next week!

With Sweet & Sour Love,

Pineapple Chicken x

Art: Olafur Eliasson – In Real Life

If you live in London you would not have been able to miss all the adverts that have popped up in train stations, on the tube and buses for Olafur Eliasson In Real Life at Tate Modern showing until 5 January 2020.

The Exhibition

The exhibition brings together 40 works of art made between 1990 and today. The greatest thing about his art is how immersive the installations are. He has also created sculptures, photography and paintings, but I personally think his greatest works was when he used science/geometry to create them. Similar to Phyllida Barlow¬†his works rely on the individual’s experience and that fundamentally is required to add meanings to his pieces, it is encouraged that you use your senses!¬†There was no fixed route through the exhibition (adding to the chaos) but there is a “suggested route” that in the exhibit guide.

A big tip from me is that you should wait (if you can) until after the Summer Holidays as I tried to visit as schoolchildren were just breaking up…I greatly regretted this decision as the exhibition was swarming with children. I don’t have an issue with children but when mixed with interactive art it was absolute mayhem.

There are a lot of pieces dotted around the Tate Modern itself, don’t miss out on¬†Waterfall 2019 that is placed outside the Blavatnik Building entrance.¬†¬†One of my favourites was the¬†Stardust Particle 2014 which you will notice just outside the entrance of the exhibition. Due to the popularity of the exhibit, I would recommend visitors with the flexibility to either go very early in the morning or later in the evening. For those that do it for the “gram”; this is one of the most instagrammable exhibitions I have been to this year!

Best Immersive Experiences

  • Din blinde passager (Your blind passenger) 2010 – this is the largest immersive experience in the exhibition. It is essentially a 39m long corridor filled with fog. For those who may be claustrophobic may not enjoy this as you will only be able to see 1.5m, if not less, ahead of you. The exhibit is made from water-soluble fog containing non-toxic polyols and makes it smell like banana?! but should be noted that the air feels heavy. Whilst you walk along the corridor the ceiling lights change colour, changing from orange to pink to blue; very surreal. It was a very odd experience but I enjoyed it so much I did it twice.
  • Big Bang Fountain 2014¬†– unfortunately, I was unable to take a photo of this exhibit because of the flashing lights. For those that are afraid of the dark, this one is not for you and word of warning – it is hard to find the exit! This a particularly popular exhibit and there was a very long queue to enter this small room, but I do not think it should be missed!
  • Your spiral view 2002¬†– This is a tunnel of mirrors, but was one of my favourite pieces because of the different reflections on various shards of the mirrors as you walk through. It was a little disorientating at first because I couldn’t work out how everything was reflected. Though a beautiful piece of work and reminded me of one of my favourite artist’s¬†Lee Bul.

Other notable pieces

My other favourite pieces of Olafur Eliasson were how he was able to manipulate light.

  • Beauty 1993 – I nearly missed this room as you have to turn right as you enter the corridor from the room where there is the¬†Moss Wall 1994, however, definitely go back. Admittedly, it is a mist with a projected light onto it but it is completely mesmerising and beautiful.
  • Eine Beschreibung einer Reflexion (A description of a reflection) 1995¬†– you will have plenty of time to enjoy this piece of art as you wait in line to see the¬†Big Bang Fountain 2014 (see above). This one baffled me the most as I was unable to work out how a light that was beamed onto a piece of rock and projected onto a circular board creating wonderfully mystical shapes.

The exhibit reflected Eliasson’s art interests in nature, geometry and how as humans we perceive and interact with the world. It particular, it highlighted his view on climate change, as reflected in all the goodies in the shop and¬†Little Sun in the exhibit. The exhibition really spoke to the environmentalist in me, his pieces of art were a great marriage of art, science and the environment. 5 out of 5 pineapples!¬†

Have you visited the exhibition or seen any of his pieces of art before? As always, I would love to hear from you!

With Sweet & Sour Love,

Pineapple Chicken x

Art: Lee Krasner – Living Colour

A phenomenal pioneer of Abstract Expressionism who has been overshadowed by her more famous husband, Jackson Pollock, finally gets her time to shine. It has taken more than 50 years for her works to return to Europe in the latest exhibition at the Barbican. Lee Krasner: Living Colour presents her artwork throughout her life and provides an intimate insight into an extraordinary woman. The power of her art is evident throughout the exhibition reflecting her vivacious character. The major retrospective of her work is a rare opportunity to see some of her work all once space, in place better than the wonderful Brutalist vaults of the Barbican.

This is so good that you would not think it is done by a woman – Hofmann

Lee Krasner: Her Life

Though the exhibition was not presented chronologically ordered, I feel that her life story is the best way to showcase her art. In the below, I have selected a few of my favourite pieces from each decade to give a glimpse of the gems you will find at this exhibition.

The 1920s – Born in Brooklyn 1908, Krasner knew she would be an artist by the age of 14; which I think is amazing as I wasn’t sure of anything myself at that age. Her determination meant that she applied to the only school in New York to offer an art course for girls – Washington Irving High. One of the earliest artwork displayed was a self-portrait drawn having after graduated from Women’s Art School at Cooper Union. This small, easily overlooked, drawing is not as colourful as the others on display but what I believe to represent her changing identity, where she moved from her birth name of Lena to the more androgynous Lee.

https://www.metmuseum.org/art/collection/search/486924
Self Portrait, c.1929-30

The 1930s – The Wall Street Crash in October 1929 marked the beginning of the Great Depression. It forced Lee to leave the National Academy and enrol on a teacher’s course at the City College of New York because the tuition was free. During this time, she was completing life drawing courses with Job Goodman who focused on classical methods of drawings – think Renaissance Masters. Her life drawings were one of my favourite series of her work because of the remarkable detail captured of the human body, and the use of line and shadow.

Studies from the Nude, 1933
Studies from the Nude, 1933

The 1940s – This was a particularly tough time for Lee because in 1945 she moved to Springs, Long Island after her father’s death the year before, which rendered her unable to paint anything more than “grey slabs”; despite her marriage to Pollock in 1945 as well. Surrounded by nature and the change of scenery, there was a transformation in her and the “Little Images” were created. It was in 1947 when Lee created my next favourite piece where she turned two old wagon wheels from the farm into mosaic tables. Using bits of costume jewellery and any random colourful knick knacks, she created this charming piece.

Mosaic Table, 1947
Mosaic Table, 1947

The 1950s – After the “Little Images”, Lee held her first solo exhibition at the Betty Parsons Gallery in October 1951. It was the start of her large contemporary pieces, however, like many other contemporary artists at the time, the painting had failed to sell. Ripping them up (as you do) and painting black and white drawings and shredding those as well, the shreds became the beginnings of a series of collages. This technique, reworking and destroying previous works, is seen throughout her later years as an artist. It was the Summer of 1956 when she painted a series of paintings unlike any other. By this time, Pollock’s alcoholism was acute and it was on the 12 August when she received that fateful call with the news that Pollock died in a car crash killing himself, a friend of his lover and only his lover as the sole survivor. The warped pink of the flesh and abstract eye or face is a shocking contrast to her earlier work. I personally found it almost too painful to look at.

The 1960s – Lee took over Pollock’s studio after his death, she was a pragmatic woman and recognised that it was the largest space she had with natural light. This was the beginnings of her large artwork, unrestricted in space, her pieces fill the lower floor of the exhibition space. In the period when she was suffering from chronic insomnia, she worked in the dark, but because she only works with colour in the natural light, Lee opted for a restricted palette of white and umber (a dark brown). These pieces differ again from her previous style – another rebirth. It is as if she let loose to let her energy and emotions spill and rupture onto the canvas. This period of darkness was relatively short lived as by the early 1960s, colour bursts back into her paintings but Lee continues with a limited palette. She embraces her inner Matisse and nothing seemed to have held her back.

with colour one obtains an energy that seems to stem from witchcraft. – Matisse

The 1970s – Another decade, another change. Lee refused to have a “signature image”, she was a formidable force that is ever evolving. The change was stark, moving away from the energetic and dynamic strokes of the 60s to the hard edge and calculated forms of the 70s. She continues to extensively use colour but in a very different way. She paints a piece entitled Palingenesis during this time, which is the Greek word for re-birth. As noted above, this been a fundamental and consistent theme throughout her decades as an artist.

IMG_20190602_104328
Olympic, 1974

Obviously, this exhibition is awarded 5 out of 5 pineapples! An exceptional exhibition for an extraordinary female artist in her own right. No longer does she need to be remembered as the wife of Jackson Pollock, but as Lee Krasner – a rebirth. As always, I would love from you and your thoughts, so leave a comment below!

With Sweet & Sour Love,

Pineapple Chicken x

Art: Phyllida Barlow

Phyllida Barlow

Phyllida Barlow’s¬†cul-de-sac showcases an entirely new body of work at the Royal Academy of Arts located in the contemporary art galleries, The Gabrielle Jungels-Winkler Galleries, which will be open until 23 June 2019.

The British Sculptor is famous for her use of inexpensive everyday materials to create precarious structures filling spaces which they are held.¬†In the form of a ‚Äúcul-de-sac‚ÄĚ, with only one way in and out, there are no barriers for visitors to explore the artwork. The guide that accompanies the exhibition explains that there are usually¬†three protagonists when it comes to her artwork.

The first protagonist

The first protagonist the artwork itself, her use of materials such as plywood, plaster and polystyrene, in addition to the transparency in how her artwork is created. This is part of her wonder as she breaks the conventions of traditional sculpture. Barlow takes inspiration from her surroundings; particularly domestic and street worlds. The untidiness of urban leaving, repairs of buildings and infrastructure repairs holds a fascination for Barlow and is often expressed in her work.

Using such inexpensive materials enables Barlow, unlike bronze, stone or steel; to retain the freedom to make changes to her artwork as it develops, or even change/redo previous works; conveying a sense of transience and impermanence. The unrefined quality of her work, combined with the appearance that it will topple over any minute reflects the chaos and messiness of urban life.

Her work may not be considered beautiful but it certainly emits great energy; when looking at the art close up, the creative process is clear. A visitor should also consider whether you have space to run should the artwork decides to shift from its position of zen!

The second protagonist

The second protagonist is the exhibition space which Barlow considers to be of equal footing with her artwork. The relationship between the two is crucial and the placement of the installations are carefully considered. This is demonstrated wonderfully in this exhibition where her voluminous work fills the whole gallery space. When one looks up, it is difficult to separate her towering structures with the ornate gallery’s curved ceiling. They are as if one.

The third protagonist

The third protagonist is us – the visitors to the gallery. How the individual pieces are placed and how one might circumnavigate around them (such as there is only one way in and out); to explore and wander around spaces is of critical importance in Barlow’s work. The encounter and the residual memory that the visitor is left with has long preoccupied her. This is particularly explored when she represented Britain at the Venice Biennale in 2017. She considers how the public reacts and interacts with inanimate sculptural installations (normally one would just stand and stare). This is carefully considered in this exhibition and as a visitor took the opportunity to weave in and out of the artwork and get up close without being reprimanded. Being able to explore is freedom.

Arte Povera

When searching to understand Barlow’s influence of her work, or what art movement she is part of, it is clear that she remains undefined and does not follow convention. Her work shows¬†influences from Arte Povera, Pop Art and New British Sculpture amongst others. Arte Povera means “poor art” where poor refers to the use of inexpensive materials compared to traditional ones such as bronze or carved marble in sculpture. Using such dispensible materials was to challenge the values of the commercialised contemporary gallery system. The term was coined by Italian art critic Germano Celant in 1967 to describe a group of young and anti-elitist artists. It is considered as one of the most significant and influential avant-garde movement to emerge in Europe in the 1960s. The movement was in contrast to the sensibility of American Minimalism by using performance, and unconventional approaches to sculpture, such as installation. There was no manifesto drawn up for the Arte Povera, as a key factor of the movement was the rejection of rules and pre-existing structures.

The movement was at its height from 1967 to 1972, but its influence on later art has been enduring. In Japan, the Mono-ha group looked into the essence of materials and stepped away from technological modernism. In the US, the terms anti-form and post-minimalism was used to describe work that also rejected the sensibility of Minimalism.

Barlow’s influence

Barlow had an important influence on younger generations of artists through her teaching a the Slade School for Fine Art where she later became a Professor of Fine Art. Her infamous students include Turner Prize-winning and nominated artists Rachel Whiteread and Angela de la Cruz. She became a Royal Academician in 2011 and continues to live and work in London.

What a phenomenal and accomplished female artist, I would recommend this exhibition for anyone interested in contemporary art or one who is curious to try a different art experience. 4 out of 5 pineapples.

With Sweet & Sour Love,

Pineapple Chicken x

P.S For another splendid review of another exhibition of her work please see this article here.

 

Travel: Rotterdam

Rotterdam 2019

Hi everyone!

Happy Friday! What wonderful things have you planned for this weekend? Or will it be super relaxing focusing on self-care? Either way, I am very glad that I am finally back on the blog. For those who had seen my recent post, the blog was on pause because I was moving in with my boyfriend!! Thank you for all the well wishes from friends and readers – I was extremely grateful for all the messages.

I am not going to lie, the past week has been a bit of a rollercoaster! I had forgotten how stressful moving can be and I do not think I managed my own expectations and the change appropriately. The move in day coincided with one of the most sociable time of the year for me because of Chinese New Year and as a result, this has meant I have not actually spent much time in my new home.

HAPPY LUNAR NEW YEAR. 

May the Year of the Pig bring everyone good health, positivity, good luck and prosperity!

I am really excited to share with you my weekend away to Rotterdam with my sister.

Where we stayed

The James Hotel is a three-star boutique hotel. It looked like it had been newly renovated, with a sleek contemporary design. My sister and I shared a twin room, which was luckily upgraded to a larger room. I was extremely chuffed, however, we realised a large room does not the size of the bed changed! They seemed to be particularly small, which was a bit odd. I would recommend others to book a king size bedroom instead of twin beds.

They also seemed to have sprayed quite a distinctive “perfume” into the rooms, so if you have a sensitive nose, this might not be the place for you.¬† Despite this, it was conveniently located around good restaurants and the shopping district so there was a lot to see! I would recommend the hotel mainly for the location, cleanliness and friendly staff. (3 out of 5 pineapples)

Museum Voorlinden

The raison d’etre for going all the way to Rotterdam was to visit Museum Voorlinden. Noted that museum was actually nowhere near Rotterdam but in the Hague; and that my sister and I decided to fly all the way to London to visit this place – you can imagine how high my expectations were.

I was actually blown away – I had such an amazing time that I would fly back to Rotterdam just to see what other exhibitions they might hold in the future. Currently, they have two exhibitions, in addition, to their permanent collection:

  1. Less is More (until November 2019)
  2. Armando (until 10th March)

I highly recommend the Less is More exhibition, I have taken a few pictures of my favourite pieces (check out my Instagram feed) including Alicja Kwade Trans-For-Men 8 (Fibonacci), 2018. Brilliantly curated and just shown in such a wonderful space. The architecture of the building meant that there was a wonderful light flowing into each room.

My sister and I really wanted to see Leandro Erlich‚Äôs Swimming Pool¬†which specially designed for Voorlinden. As the museum was not crowded, we managed to have at least 20 minutes taking photos with this wonderful art piece which would have been IMPOSSIBLE in London. This piece of art was such a tranquil space, so much so that I was wondering how I could have my own little pool at home so I could have a zen room hehe ūüėČ (It continues to be a dream).

I had a wonderful time Рflying to Rotterdam and going to the museum really made my trip! (5 out of 5 pineapples)

Tip: If I was to visit again, I think I would stay in the Hague, there is a lot more to see and I found it much prettier than Rotterdam. 

What we did

  • Markthal – This is a food hall very conveniently close to the shopping area in the Cool District. There are a variety of stalls ranging from seafood to Indonesian food to Tapas. There is something for everyone, however, it did get very crowded in the evening. Personally, because of all the choice, it was very difficult to decide on what to have. I recommend going there with a cuisine or dish in mind, or you might end up wandering aimlessly like me. There was a dessert shop which sold Poffertjes – these amazingly buttery and sugary mini pancakes. They were SOOO GOOD – definitely try some whilst you are out there! (2.5 out of 5 pineapples)
  • Cube Houses – I am not sure why this is a recommended destination on most guides for Rotterdam. These are located right next to Markthal, so whilst you are there, why not go to see it but don’t expect anything special! (1 out of 5 pineapples)

Where we ate

  • The Fish Market – very chilled out vibes and an extensive seafood menu. Everything was very fresh and well executed. The portions were also very large, so I recommend ordering to share, or if you can go with a big group that would be even better!¬†3 out of 5 pineapples
  • Dudok – turns out there are few Dudok cafes in Rotterdam/Hague. There is one about 3 minutes from our hotel. We went there for breakfast on Saturday morning and it turns out that everyone else thought the same idea. Super popular with a mixed crowd. It was slightly odd that people seemed to have cake and coffee in the morning, but I could understand why because the apple pie is to a must try! 3 out of 5 pineapples
  • Restaurant Napoli – it was a cold weekend so wanted a bit of comfort food. This small little Italian place was SUPER busy, that we were only able to get a reservation on Saturday for 8:30pm. Delicious comfort food particularly if you are in a pasta mood – highly recommend this bustling restaurant. 3.5 out of 5 pineapples
  • by Jarmusch – American style diner that is super popular for brunch – great pancakes and had an awesome veggie breakfast. Expect there to be a relatively long wait, but was a great way to start the day! 3.5 out of 5 pineapples.¬†

Until next time

Rotterdam is filled with so much more to see. I didn’t even cover 20% of the locations I had on my google maps. I would have wanted to spend more time in the Hague, so next time I think I will stay there. The weekend trip was a great taster of what Rotterdam has to offer. As mentioned previously, I would go back just for Museum Voorlinden so I might use that time to wander around this more, and maybe not in winter because it was constantly raining whilst we were there!

Have any of you been to Rotterdam before? What do you think I should do next time whilst I am there? As always, I would love to hear from you!

With Sweet & Sour Love,

Pineapple Chicken x

 

 

Art: Shape Shifters

Hi Everyone,

How are you all doing? I have had a rough start to the week, unfortunately, I was down with a cough which then developed further to a very sniffly cold. On cue – the world’s smallest violin plays hehe!¬†However, it did not stop me doing something to lift my spirits last weekend. Nothing is better than a bit of contemporary art!

The Hayward Gallery is one of my favourite art galleries in London and, so far, I love the exhibitions they have held. My previous visit was to see Lee Bul and this time it was to see their latest exhibition Shape Shifters Рwhich is a major group show bringing together sculptures and installations that explore perception and space. It is available until the 6 January 2019 and I highly recommend a visit if you are in London. I thought it was one of the best exhibitions I have been to this year (possibly better than Lee Bul). Thus, scores 5 out of 5 pineapples!

The website has a very in-depth guide to a few of the key pieces, so in case you won’t be able to make it physically, hopefully, this post and the website would give you a good idea of what was there ūüôā

The Favourite

WeltenLinie (2017) by Alicja Kwade

My personal favourite was the sculpture WeltenLinie (2017) by Alicja Kwade. I love art that is interactive and given that the whole premise of the exhibition was to explore space in a different way, this piece did just that! I was very confused with my surroundings when walking around the various mirrors and frames. It made the viewer engage with the sculpture (no touching, of course) and invites you to wander around in order to get a different perspective. True masterpiece.

“Using double-sided mirrors and carefully placed, paired objects, the artist achieves the illusion of sudden and surprising material transformations”

The Famous

20:50 (1987) by Richard Wilson

Probably one of the most famous piece in the exhibition was the installation 20:50 (1987) by Richard Wilson. I had the pleasure of seeing this piece of work about a decade ago whilst on a school trip and the memory was just as vivid as I saw it again. You will smell the artwork before you see it as his installation uses engine oil to create an “infinite” black surface. This acts as a giant mirror and whilst walking down the narrow pathway to the middle of the piece, it completely distorted my senses. You feel submerged as if the sound has also been swallowed into the oil and you are all alone. Truely an experience!

“The surface of the dark, dense substance mirrors the space above it and creates for the viewer the vertiginous impression of being suspended within a curiously doubled and seemingly infinite environment.”

Tip: The installation is right at the end of the exhibition on the top floor of the gallery. I recommend once you enter the start of the exhibition to take the stairs on the right and climb all the way up to the top of the stairs. This will lead you directly to the queue for Richard Wilson’s piece.

It is (understandably) popular and the website states a wait can be up to 1.5hrs long at peak times. Even when I arrived at 11am on a Sunday morning (first slot of the day), the queue was already a 20-minute wait; so I recommend getting there early!

The others

Notable other pieces include:

Have you had a chance to visit? As always, I would love to hear your thoughts!

With Sweet & Sour Love,

Pineapple Chicken

 

Art: Jasper Johns

Hi Everyone!

I had recently visited the latest Royal Academy of Arts exhibition: Jasper Johns “Something Resembling Truth”. It is currently still on and will be available until the 10th December. An adult ticket is ¬£17 without donation but the ticket price does include audio guides for those are so inclined to use them!

I have not actually heard of this artist before until a friend mentioned that he was going to have a look. As always, I would jump on any opportunity to expand my knowledge of art and culture. When I googled, and saw the iconic paintings the US flags, I realised who I was going to see! Having said that, because of my lack of knowledge of this artist, I wasn’t very sure what I was in for!

This is the first comprehensive survey of the work in the UK and it was an extremely large exhibition. I personally thought it was beautifully curated and the artwork was chronologically ordered. Each room you walked through was of a different decade. Obviously, to be difficult, I started with his latest work from the early 2000s and then making my way backward in time to the 1960s. I am glad that I did because I think it provided a different perspective on how his work developed. It was notable, how it became more vibrant and sophisticated over time, though admittedly more and more abstract.

There are some obvious reoccurring themes throughout his works, but my favourite pieces were definitely the recent paintings, which seemed to have a more Picasso feel; or the really early works with different materials, such as the Painted Bronze (ale cans) and The Critic Sees (1961).

Overall, it was a very well curated exhibition with a lot to see. For someone like me who was unfamiliar with his work, it was an eye-opener. However, personally, I am not a massive fan of his work and often found it difficult to emotionally engage with his art. Though, if you are a fan of his artwork, this is not an event to miss! As a result, I would give the exhibition 3.5 pineapples out of 5.

I would love to know your thoughts of this artist and whether you have had a chance to go and see the exhibition! Please leave your comments below ūüôā

As always, with sweet & sour love,

Pineapple Chicken x