Picturing Diversity – The Power of Portraiture

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).

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Tapestry-based artwork “The Caged Bird’s Song” (2014-2017) by Chris Ofili CBE, hand-woven to the artist’s specifications by textile artists from Dovecot Tapestry Studio. The three-panelled artwork was on display at the National Gallery, London, as part of the exhibition “Chris Ofili: Weaving Magic” curated by Minna Moore Ede (displayed until 28/08/2017). Photo: Carol Dixon.

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).

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Three-panelled watercolour “The Caged Bird’s Song” (2014) by Turner Prize-winning British artist Chris Ofili CBE. Photo: Carol Dixon.

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.

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“Corinne”, by Anastasia Pollard. Oil on Board. 255 x 205mm. This painting was displayed at the National Portrait Gallery, London, as part of the 2017 BP Portrait Award. Photo: Carol Dixon.

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

NAMLA (Nader Art Museum Latin America) celebrates Wifredo Lam in New York

Public exhibition from November 11 through November 21 at Gary Nader NY, 24 West 57th Street, New York City. This show will include works from the Nader Art Museum Latin America (NAMLA) as well as Several Prestigious Private Collections Nader Art Museum Latin America and Gary Nader NY are pleased to announce the upcoming exhibition […]

via NAMLA celebrates Wifredo Lam in New York — Repeating Islands

“Verses After Dusk.” A solo exhibition by Lynette Yiadom-Boakye (Serpentine Gallery, London)

It was worth braving the storm clouds a few days ago to visit the Serpentine Gallery in Kensington Gardens and view Verses After Dusk – a solo exhibition of recent works by the British figurative painter Lynette Yiadom-Boakye (b. 1977, London).

The Woman Watchful (2015), by Lynette Yiadom-Boakye
The Woman Watchful (2015), by Lynette Yiadom-Boakye

Although I have been aware of this artist since she was nominated for the Turner Prize in 2013, I had only previously seen a small number of individual paintings by her in group displays at Tate Britain (where her works ’10pm Saturday’ (2012) and The Generosity (2010) are part of the British Art Collection) and Leeds Art Gallery (where the beautiful seascape with two figures Condor and the Mole (2011) was shown in the Arts Council touring exhibition, One Day, Something Happens: Paintings of People, 6 March-24 May 2015) . For this reason it was fascinating to spend time delving deeper into her portfolio, appraising recently completed paintings, and learning more about Yiadom-Boakye’s artistic practice via this solo exhibition.

Curses (2011) by Lynette Yiadom-Boakye. This painting featured as the Serpentine’s promotional image for the Verses After Dusk exhibition.

Displayed on the ground floor in five inter-connected rooms, Verses After Dusk comprises c.25 contemporary oil paintings and  sketches of individuals, pairs and small groups depicted in a range of  quite ambiguous, quotidian settings – from dimly lit, under-defined interiors, to sparsely populated beach scenes and seascapes.

Interstellar (2012), by Lynette Yiadom-Boakye

The exhibition opens with a selection of individual portraits of young men and women – some facing out towards the viewer, but most painted at oblique angles with averted eyes looking away into the distance, or with their backs completely turned as if to avoid the onlooker’s gaze altogether.

An impressive oil on canvas titled ‘Interstellar’ (2012) is positioned on the wall immediately facing the entrance to the first room so that a tall, larger-than-life figure of an athletic and graceful dancer, with arms outstretched in a balletic relevé on demi-point provides the first glimpse of Yiadom-Boakye’s sublime work. From the outset, the scale, energy and refinement of this painting drew me in and provoked many questions – not only concerning the subject in the frame, but also musings about the artist herself.

Continue reading “Verses After Dusk.” A solo exhibition by Lynette Yiadom-Boakye (Serpentine Gallery, London)