My January 2017 article for Wall Street International, ‘Shipwreck with Spectators’ (Naufragio con Spettatore), which describes the experience of an installation-based work in Parma, Italy, by the Italian metaphysical sculptor and poet, Claudio Parmiggiani. Read more here
Source: Claudio Parmiggiani – Wall Street International
Laughing, but not Cavalier: As we ponder the po-faced narratives around the latest Turner Prize and of the cryptic assemblages of the winner, how about something festively cheery, more seasonal? The works of HPF are pointed, honed and have something of the Rake’s Progress about them…read more here
Source: Laughing but not Cavalier – Wall Street International
Picture credit: (above) Hans-Peter Feldmann – Untitled – Oil on Canvas – 51 x 34 cm (20 1/8 x 13 3/8 in.) (SLG-HPF-09222) – Courtesy of the artist and Simon Lee Gallery.
A few words on Nigel Hall at Annely Juda, London; “penetrating the form”… as they say. Hall is one of the unsung heroes of the past 5 decades of art, too often overlooked, fashionably unfashionable one might say…
Source: Consummate and quintessential – Wall Street International
Some collected thoughts on blockbuster shows, audiences and bean counting within the context of history,. Questions also of perceived (as opposed to ‘real’) greatness.
Source: Exhibitions and existentialism – Wall Street International
image: the Armory Show: Courtesy Sheeler.
In what seems to be the season for exhibitions with impossibly long names, this show at that spectacularly re-formed Mancunian gem, the Whitworth, is the result of a curatorial project between installation artist Elizabeth Price and Haywe. The litany of artists included by the pop performer-come 2012 Turner Prize winner Price, presents – on paper at least – a fascinating and seemingly impossible curatorial pile-up of names/styles such as Brancusi, Burra, Channer, Fuseli, Anthea Hamilton, Holzer, Paolini, Schneemann, Warhol and others. Read all about it here.
Runs 10 June to 31 October 2016
A few thoughts not only on this exhibition, but on the theme of art removed from its context to meet the needs of museum audiences and the market. Hence not a critique of curation or the venue – or even the show- but questions about ethics, relocation and the significance of dislocated meaning…‘Art in the Urban Form’ at Palazzo Pepoli, Bologna, Italy.
Street Art Banksy Co. L’arte allo stato urbano a Palazzo Pepoli, Bologna, Italy. Ph Federica Patti. Source: Street Art. Banksy & Co. – Wall Street International
Forgive the non-accidental reference to Beuys, but a few words on the work of the much-missed and much misunderstood Barry Flanagan – sure to set hares running of course! But seriously, Flanagan, much misunderstood, inanely copied in the name of mistaken garden adornment – a rare man as they say in the old country. Click here for full article.
Barry Flanagan, heap 3 ’67, 1967, hessian, sand,18 x 30 x 30 in 45.7 x 76.2 x 76.2 cm © The Estate of Barry Flanagan, 2015
Source: Barry Flanagan – Wall Street International