For our Christmas issue we are writing about the Madonna - as an icon, symbol, woman mother (oh yes, and the one who is a pop star too...!)
Wednesday 19 December 2012
Monday 17 December 2012
Nearly there ...
My new project, Collage Magazine, is stepping up. Issue 2 is due out, after lots of hard work, on Wednesday December 19th. It's our 'Madonna' issue for Christmas, where we investigate the iconic role of the Madonna in art, consider how women balance creativity and motherhood. Plus women artists discuss their relationship with religion.I'll post a link here when it's published but in the meantime here is a collage (ha,ha) of images from the new issue.
Saturday 13 October 2012
Collage Magazine- first issue!
Here is the first issue of Collage Magazine, my newest project. It's an on-line magazine for women who are interested in politic and art. have a flick through and I hope you like it!
Tuesday 4 September 2012
Collage
I'm contributing to a new on-line magazine for women in the arts called 'Collage'. The first issue will be published in October and it's theme is self-portraits. Below is my own little collage of women artists from the sublime (ahh, Marlene Dumas) to the ridiculous (at the bottom is an image from a chocolate ad of what those guys in the advertising world think women artists look like!)
Details coming soon on how to receive your issue of Collage straight to your in-box.
Monday 3 September 2012
Empress's new clothes?
I finally took a trip to Margate the other day to visit the Turner Contemporary and see the Tracey Emin exhibition that's on there until the end of the month.
Entitled 'She lay down deep beneath the sea' it's a collection of gouache, embroidery, monoprint and bronze sculptures. I love the ideas in this exhibition - it's deeply resonant of that aspect of womanhood which seems to be linked, atavistically, to water. The Lady of the Lake, selkies, mermaids and sirens are all brought to mind by this work which also provides the visceral gut punch of Emins' destroyed, nude,questioning woman, spilling her fear, love and secretions across the paper.
The initial impression is beautiful but, like many a lovely person, unsatisfying.
In terms of confessional art, I can't see how we can go much further than Emin. She puts herself firmly at the centre of her work, confronting us with everything about her, like the high culture version of Kerry Katona. I find it fascinating and powerful but ultimately a dead end. After this exhibition I felt as though the only thing I'd had my eyes opened to was more of Tracey Emin's emotional journey through life. And her journey through life has been very different to mine, so although I have an interest (in the same way I do about Katona or Kardashian - or anyone else who's name begins with K) it's fairly fleeting. If this gut spilling were 'the personal is political' and functioned as the way in to learning more about life, history, politics, to having my preconceptions challenged and my mind blown by fabulous philosophical concepts, then I would be all in favour of yet another blue gouache scribble. But I, along with probably everyone in the gallery that day, have thrown away thousands of little scribbles precisely because they have so little meaning. Emins' suggestion (made in relation to her 'Unmade Bed' installation) was that it's art because she's an artist and she made it. But the world has turned and I feel that's no longer good - or interesting - enough.
Finally, the physical quality of the work is so questionable - her embroideries (which I'm guessing are made with the help of 'fabricators', those Dobby house elves of the art world) are machine made. I embroider by hand and I was accompanied to this show by an artist who hand crochets giant female sculptures and we found this very disappointing. It felt cheap and corporate, like being in one of those restaurants where the accountants have measured out how many olives go on the pizza.
I want to know - who is Emin's viewer? Who still finds this interesting? Her investigation into being herself would only keep us coming back if she radically reinvented herself, developing intellectually or, at the very least, becoming a Scientologist. Meanwhile, her investigations into being a woman are so trite that they wouldn't stand up to night down the pub with girls. I feel that, far from being a poster girl for women, she's parading all this fanny art for the boys. It's the 'look at me, I'm a bit mad, I am' act that a certain type of kooky girl thinks men will find cute. In reality all women live with abortions, miscarriages, still births, rapes, infertility, unequal pay, ugly men pawing at them and the horror that is Grazia magazine. We don't need a scribbly Emin to reveal that to us.
If all this sounds a little harsh it's because I am disappointed. I wanted better from her, she is so obviously capable. In many ways the work is attractive and charming. But then so is that painting of the Highlands on a tin of shortbread. I'm about the same age as Emin and I wanted her to be my artist, to be the one who speaks for me and my kind. But conceptual art is only as fabulous as the concept and Emin is no philosopher. If you have nothing to say then please paint better.
Entitled 'She lay down deep beneath the sea' it's a collection of gouache, embroidery, monoprint and bronze sculptures. I love the ideas in this exhibition - it's deeply resonant of that aspect of womanhood which seems to be linked, atavistically, to water. The Lady of the Lake, selkies, mermaids and sirens are all brought to mind by this work which also provides the visceral gut punch of Emins' destroyed, nude,questioning woman, spilling her fear, love and secretions across the paper.
The initial impression is beautiful but, like many a lovely person, unsatisfying.
In terms of confessional art, I can't see how we can go much further than Emin. She puts herself firmly at the centre of her work, confronting us with everything about her, like the high culture version of Kerry Katona. I find it fascinating and powerful but ultimately a dead end. After this exhibition I felt as though the only thing I'd had my eyes opened to was more of Tracey Emin's emotional journey through life. And her journey through life has been very different to mine, so although I have an interest (in the same way I do about Katona or Kardashian - or anyone else who's name begins with K) it's fairly fleeting. If this gut spilling were 'the personal is political' and functioned as the way in to learning more about life, history, politics, to having my preconceptions challenged and my mind blown by fabulous philosophical concepts, then I would be all in favour of yet another blue gouache scribble. But I, along with probably everyone in the gallery that day, have thrown away thousands of little scribbles precisely because they have so little meaning. Emins' suggestion (made in relation to her 'Unmade Bed' installation) was that it's art because she's an artist and she made it. But the world has turned and I feel that's no longer good - or interesting - enough.
Finally, the physical quality of the work is so questionable - her embroideries (which I'm guessing are made with the help of 'fabricators', those Dobby house elves of the art world) are machine made. I embroider by hand and I was accompanied to this show by an artist who hand crochets giant female sculptures and we found this very disappointing. It felt cheap and corporate, like being in one of those restaurants where the accountants have measured out how many olives go on the pizza.
I want to know - who is Emin's viewer? Who still finds this interesting? Her investigation into being herself would only keep us coming back if she radically reinvented herself, developing intellectually or, at the very least, becoming a Scientologist. Meanwhile, her investigations into being a woman are so trite that they wouldn't stand up to night down the pub with girls. I feel that, far from being a poster girl for women, she's parading all this fanny art for the boys. It's the 'look at me, I'm a bit mad, I am' act that a certain type of kooky girl thinks men will find cute. In reality all women live with abortions, miscarriages, still births, rapes, infertility, unequal pay, ugly men pawing at them and the horror that is Grazia magazine. We don't need a scribbly Emin to reveal that to us.
If all this sounds a little harsh it's because I am disappointed. I wanted better from her, she is so obviously capable. In many ways the work is attractive and charming. But then so is that painting of the Highlands on a tin of shortbread. I'm about the same age as Emin and I wanted her to be my artist, to be the one who speaks for me and my kind. But conceptual art is only as fabulous as the concept and Emin is no philosopher. If you have nothing to say then please paint better.
 |
| Rodin's 'The Kiss' was also on show at the Turner Contemporary. |
Friday 31 August 2012
Athenais and the Golden Trunk
Athenais and the Golden Trunk
Subscribe to:
Posts (Atom)