‘In Search of the Miraculous’ is the second exhibition by Kehinde Wiley to be shown at Stephen Friedman Gallery in London (24 November 2017 – 27 January 2018).
Displayed in three rooms, this series of nine new paintings and a three-channel artist’s film illustrate moments in the lives of young Haitian fishermen presented against a backdrop of tropical coastal settings and tempestuous seascapes.
The press release for the exhibition states that Wiley’s motivation for creating these works was to address a number of themes relating to “migration, madness and isolation in contemporary America.” However, although these foci were symbolically evident throughout the exhibition, the overarching significations foregrounded by Wiley in this body of work were more broadly related to black masculinities, issues of ontology and sense of self for men throughout the African diaspora – not a project centred solely on symbolising the impacts of populist politics for African-Americans in the USA today.
I am seldom more satisfied with a gallery visit than on the occasions when you walk into an exhibition space intending to view one thing, and then stumble on something quite unexpected that turns out to be far more interesting than the artwork or display you originally planned to see. The 3rd August 2017 turned out to be one of those days, when my attention and intentions were solely focused on a long-awaited and much-anticipated trip to the National Gallery in Trafalgar Square to see the stunning tapestry-based artwork “The Caged Bird’s Song” (2017).
The tapestry was based on an original watercolour painted by Chris Ofili CBE, and hand-woven in partnership with a team of textile artists from Dovecot Studios. The resulting panels were then displayed as part of the celebrated exhibition, “Chris Ofili: Weaving Magic” (Sunley Room, National Gallery, London, 26 April – 28 August 2017).
The three-panelled tapestry was, of course, as awe-inspiring as the attached pictures suggest. However, the large number of visitors milling in and out of the Sunley Room precluded any opportunity to spend a long period of time quietly contemplating the scale, splendour and intricacy of this vibrantly colourful piece at my own leisure.
Consequently, I changed tack and headed away to make an impromptu visit to the National Portrait Gallery (NPG) to spend time browsing new works in the contemporary galleries and the exhibition for the 2017 BP Portrait Award.
2017 BP Portrait Award Exhibition at the NPG, London
Among the many beautifully rendered portraits featured in this year’s selection of 53 entries displayed to represent the best of the c. 2,580 entries submitted by artists from 87 countries, the five works that (for different reasons) captured and held my attention were (in no particular order): (1) Corinne, by Anastasia Pollard; (2) Society, by Khushna Sulaman-Butt; (3) Portrait of the artist Jerome Witkin, by David Stanger; (4) Lemn Sissay, by Fiona Graham-Mackay; and (5) Another Fine Day on Elysian Fields Avenue, NOLA, by Eva Csanyi-Hurskin.
The striking portrait of “Corinne” by Anastasia Pollard is actually quite tiny, measuring just 255 x 205mm. However, the captivating beauty of the sitter and the overall balance of the composition made it one of the most arresting images in the entire exhibition. It was also not surprising that “Corinne” was chosen by the NPG as one of the featured images used for a substantial element of the marketing and publicity for this year’s award – featuring on the cover of the catalogue, as well as on one of five large-scale promotional posters for the exhibition. Continue reading Picturing Diversity – The Power of Portraiture
For the past four years the Southbank Centre in London has hosted an event called “Africa Utopia.” Typically, this diverse programme of talks, marketplace activities, displays, fashion shows and other artistic happenings takes place over the course of a weekend in early autumn and is marketed as one of the Southbank’s “Festivals for the World” series.
The artistic and strategic collaborations that produce this extensive cultural programme involve a number of key players – most importantly, the event’s co-founders: the Senegalese singer and human rights advocate Baaba Maal; and the Southbank Centre’s artistic director Jude Kelly CBE – as well as a host of commercial sponsors, media partners and arts organisations contributing to the talks, performances and market place activities.
Central to the success of Africa Utopia is its ability to remain topical, informed and up-to-date about artistic and aesthetic innovations emerging from all regions of the continent, as well as from the communities of African diasporans settled all over the world. This is one of the reasons why hosting the event in the heart of an urban metropolis like London is always such an interesting mix of cultural and political fusion, shown through a variety of arts and crafts created by established and emerging designers, photographers, textile artists, creators of African inspired couture and contemporary art installationists.
For me, the highlight of Africa Utopia 2016 was the range of talks and debates – not only in relation to literary, visual and performing arts, but also in terms of how such cultural discourses intersect with the political, economic, environmental and technological concerns affecting people’s daily lives. This year’s panel sessions were programmed by Hannah Pool and curated with a focus on themes such as arts activism, social justice and inclusive practices within the cultural and creative industries – especially in relation to TV, cinema and online broadcasting platforms.
The 1:54 Contemporary African Art Fair presented its fourth consecutive edition at Somerset House in London (6-9 October 2016) – organised by the Fair’s founding director, Moroccan-born entrepreneur and art enthusiast Touria El Glaoui.
Expanding in size and scale by an increase of 40% since its inaugural edition in 2013, this year’s 1:54 showcased works by more than 130 artists from continental Africa and the global African diasporas, represented by 40 of the most important gallerists, curators, agents and exhibitors promoting African-inspired artwork around the world.
My main motivation for visiting 1:54 was (primarily) to view the new art installation by British conceptual artist Zak Ové (b. 1966, London) – an innovative sculptor, photographer and installationist of Trinidadian descent, whose artworks I have admired for many years since he first came to mainstream prominence in the UK following a series of high-profile commissions via the British Museum more than a decade ago.
Walking from the Strand through the archway of Somerset House on the Saturday morning of my visit filled me with sheer delight, because his vast assemblage of 40 larger-than-life-sized graphite figural sculptures – titled, “Black and Blue: The Invisible Man and the Masque of Blackness” (2016) – was instantly visible from the main road, positioned in a military-style formation like a modern-day version of the ancient Terracotta Warriors of Xian in China. The hybrid nature of the installation was the deliberate referencing of ancient and modern cultural, political and corporeal themes encompassing the vast historical and geographical scope of the African diasporas dispersed over several continents – from the fashioning of facial features reminiscent of West African (specifically Congolese) figural sculptures, through to each (male) statue positioned with raised hands in a supplicatory, non-threatening pose as if to adopt the stance of the 21st century #Black Lives Matter and #Ferguson is Everywhere anti-racism, equality and social justice movements in the USA and world-wide, articulating the plea “Hands Up, Don’t Shoot!”
I was fortunate to visit the William Morris Gallery in Walthamstow (east London) this weekend to view a beautiful art installation by British ceramicist Claire Twomey before this temporary exhibition closed to the general public on 18 September 2016.
The one-room installation –“Claire Twomey: Time Present and Time Past“ (William Morris Gallery, 18 June – 18 September 2016) – was initially inspired by William Morris’s working drawing Chrysanthemum (1877) and took the form of a series of 150 ceramic tiles, each measuring 30 x 30 cm, placed on a large table covering the entire ground floor temporary exhibition gallery next to the museum’s café/restaurant
The enlargement and transformation of Morris’s 19th century floral design into a vast 21st century ceramic installation by Claire Twomey was a visual reflection of a poignant statement about temporality and the importance of tangible, inter-generational acts of cultural remembrance that William Morris wrote more than 120 years ago:
“The past is not dead, but is living in us, and will be alive in the future which we are now helping to make.” William Morris (1893) – quotation taken from the preface to “Medieval Love,” by Bartholomew Anglicus
Rather than painting all the individual tiles independently, the ingenuity of Claire Twomey’s artistic intervention was to make the new installation an entirely collaborative process – from the commissioning of digital technicians and expert tile makers from Stoke-on-Trent in the Potteries to assist with the initial digital transfer techniques onto blank white tiles, right through to extending an open invitation to local artists to volunteer as “apprentices” to help paint each individual tile periodically throughout the duration of the exhibition (over c.100 days) using a combination of regular enamel paints with muted colour tones of sage green, ochre, rusts and greys, and also over-layering thin coats of 22-carat gold enamel paint to create a subtly intricate floral mosaic with a spectacular, shimmering surface lustre. Continue reading Walthamstow, Women and William Morris: Claire Twomey’s “Living Installation” in East London