two exhibitions

On Saturday we took our weekend visitors to two local exhibitions.

First up: Drawn at the RWA. The added frisson here was that my talented husband had had a piece of work selected!

Yes that is a red dot! (picture credit Steve Broadway)

It’s a really lovely exhibition showcasing the skill which is the foundation of artistic practice. For me the striking thing about the show is the sheer diversity of artistic expression. I was intrigued by the contrast between artists who employ a few spare lines and those whose pleasure is to render what they see in minute detail. To quote the RWA’s press release: “Far from being a traditional drawing show, works included vary hugely in materials, subject, and style. From iPad life drawings to chalk drawn directly on the RWA gallery floors, from embroidered drawings to flocked screenprints, the works push boundaries, taking drawing to new heights.”  Drawn runs until 2 June and I recommend a visit. 

After a civilised break for coffee, we made our way just down the road to Bristol City Museum where, tucked away on the top floor at the back of the building, is a small but delightful exhibition entitled “Stitching and Thinking”. Starting with samplers of darning and mending from the museum collection, this show then moves on to examine ideas of mending and repair – from the straightforward repair of stitched artefacts to the more costly business of repairing broken hearts.


(Picture credit: Bristol City Museum & Art Gallery)

The discipline of limiting the colour palette to white cloth and red stitching creates a simple and poignant overall effect, which makes it a very appropriate companion to the largely monochrome exhibition of drawing at RWA. There are only a couple more weeks of this lovely exhibition and I’m hoping to get to the final gallery talk on 3 April.

the summer in brief

How to break a long silence? A quick catch up.

I provided the admin and housekeeping support for our annual Arts Trail weekend.

The Mister was away volunteering with the Iona community and my photos were not as good as his would have been.

I did a bit of solo travel:

• By car to visit my sister and see the Lichfield Mystery Plays
• By train to Stratford to visit daughter, s-i-l and granddaughter and to see an understudy performance of Twelfth Night (brilliant!)
• By train to Glasgow to visit my cousin
• By train and ferries and coach to Iona for a week’s visit and catch up with the Mister
• And back home again by ferries, coach and trains visiting daughter no. 3 and all of her family in Lancashire en route.

I found that journeys completed successfully alone leave me with a real buzz of achievement. There’s something about it that makes me feel capable and alive.

I did the usual amount of knitting and stitching

  We had visitors:

• From Devon
• From Holland
• From the Czech Republic
• From Leeds
• From South Africa
• Daughter no. 3 and two of her littlies
• And currently an actor friend who is rehearsing and performing in Bristol

 That’s a lot of bedlinen!

We have celebrated some birthdays

 

We have had a reunion of college friends some forty years on

We have visited Devon for the Preview of an exhibition by friends

 

We have been to a “secret” gig

Seen a couple of films

Visited Stratford again to see the Comedy of Errors

 

We have watched the Olympics on the telly (and now the Paralympics)

 

I have watched these sunflowers grow painfully slowly to (finally) produce a tiny flower!

down to the sticks, up to the smoke

We’ve been having some very nice times in two separate and contrasting trips.

First we had a weekend trip to Devon, starting last Friday on Steve’s birthday when we went down to visit some special friends. We were joined by another set of friends from Oxford and hooked up with others locally the following day to celebrate two birthdays at the newly-opened River Cottage Canteen in Plymouth.

It was a fab weekend of country walks, generous meals, sea views, laughter, conversation and friendship.

After a brief return to Bristol for Monday childcare fun, we were off again on a very different jaunt in the opposite direction. One thing I miss about our previous location in Oxfordshire is the easy access to London –we just don’t get there very often these days.

Our train journey on Tuesday was very badly delayed by signalling problems, but we did eventually manage to get to the Royal Academy to see David Hockney’s wonderful new exhibition, A Bigger Picture

The blast of colour in these paintings of the Yorkshire landscape is a real feast for the senses. Hockney clearly works very quickly and some of the paintings seem almost slapdash and crude, but then you catch a touch of extraordinary subtlety and grace that renders the landscape totally recognisable. It seems to me that David Hockney has spent his career looking, looking and looking and then showing what he sees so that we in turn are forced to look and see.

Wednesday’s visit to Grayson Perry’s Tomb of the Unknown Craftsman at the British Museum was a last minute addition to the schedule, but as is so often the case, it was the thing that made the trip for me.

It’s funny, thoughtful, touching and extremely skilful - combining work from the BM collection with Perry’s own work. I came away with the hardback catalogue as an early birthday present because I want to be reminded of his words and ideas as much as the artefacts.

Somehow I had managed never to visit the British Museum before and we were very impressed by Foster & Partners’ stunning airy treatment of the Great Court.

All in all a lovely week in the life of the newly retired!

Note: While I have been putting this blog post together, Steve has done a David Hockney on me and blasted out a quick, stream-of-consciousness perfectly judged review of the two shows, which captures them perfectly.

Photo credits: Devon photos - Steve; exhibition photos from RA and BM websites.

summer at the rwa - and a miscalculation

We recently went (on the recommendation of a friend ) to the exhibition of Robert Lenkiewicz’s work at the Royal West of England Academy (RWA). We were very impressed by the work (and life) of this art world “outsider” with its big themes, such as mental handicap and vagrancy; and despite my initial misgivings I was very moved by the display of an embalmed body as part of the exhibition.
Before that it had probably been more than a year since I was last at the RWA. It seems that it is re-inventing itself somewhat, with a new cafe and refurbishment plans to improve storage of the collection amongst other things. The list of exhibitions for the summer season – Mary Fedden, Lisa Milroy, Elisabeth Frink, Damien Hirst, Jack Vettriano – looked inviting. Mostly quite safe, tried and tested stuff - apart from the Vettriano, which has caused something of a kerfuffle in RWA circles and led to the president resigning. Vettriano has long been the focus of a “critics-versus-the-people” stand-off and he is used to the fuss. In an interview on the local news last week he expressed himself delighted to be showing in a large public gallery and remarked that all the critical vilification just brings people in to see for themselves.

Indeed. I went along on Friday to see what all the fuss is about. I went with a (relatively) open mind having only ever seen reproductions of JV’s work. I have to say that on this occasion I am on the side of the critics. His work is technically fine and he certainly has his own style, but somehow it fails to inspire. What hadn’t been trumpeted in the press is that it’s a tandem show, pairing his paintings with the ballroom dance photographs of Jeanette Jones. I found her black and white images far more entrancing and evocative than the paintings.



I also loved the Lisa Milroy exhibition based on Japanese woodblock engraving and particularly liked her witty and affectionate portrayal of geishas. The small Frink exhibition and the “Up from the Country” two-hander from Neil Murison and Peter Murphy were also worth seeing as is Damien Hirst’s vast statue of Charity.

However, the work that I really wanted to see – Mary Fedden’s Celebration – was nowhere to be found! It turned out that I managed to arrive on one of the few days it wasn’t on show because it’s being moved from the main gallery where JV is now showing to the side gallery where “Up from the Country” is just finishing. How confusing. Oh well, I’ll just have to go again, and as I’m hoping that our friend Maggie will be visiting in August for some arty play that will be the perfect opportunity.

While I was there I visited the new cafe (of course!) which has been opened by local cafe/deli people Papadeli. I only had a cup of coffee, but the food all looked delicious and the room (reclaimed from one of the small ground floor gallery spaces) was calm and cool. As I stood at the service counter waiting for my drink, however, I couldn’t escape from the knowledge that I was standing where the ladies loos used to be! I can understand why they’ve kept the old crazed cream ceramic tiles; it fits the shabby-chic, old school feel, but unfortunately one can still clearly see where basins and hand-dryers have been removed from the walls and patched with brownish filler. Not the best bit of making good I’ve ever seen.

Still that’s an amused observation rather than a gripe. I enjoyed my visit and combined it with a fruitful, but sad, visit to Habitat’s closing down sale.

what would banksy do?

As we queued for the banksy exhibition in bristol this morning I watched a cheerful big issue seller working his way along the line. He was met with the usual range of reactions from tolerant amusement through being completely ignored to irritation. (To be fair, this was a fairly genial queue and there wasn't any animosity.) I was suddenly struck that anyone in the queue or watching it, including the big issue seller, could be banksy - we could be entertaining banksy unawares! And then I thought, um - sounds familiar...

stillpoint

Yesterday we went to an exhibition in Oxford organised by Stillpoint. 14 contemporary artists had been asked to make their own interpretation of the stations of the cross. The result is a strong, inspiring exhibition. It's at the Jam Factory until 16 April and I recommend it.

I was particularly taken by a piece by Alan Ramsey, which consisted of two panels completely covered in London Underground tickets and incorporating the artist's words about Jesus's silence under trial. I copied down the words and later realised that they work as a poem in their own right. I hope the artist will not object to me reproducing them here.

IF YOU HADN’T STAYED SILENT
(Jesus on trial)

If you hadn’t stayed silent
I’d never have grown up
I’d never have asked a single decent question
I’d never have seen that woman quietly sobbing
I’d never have laughed about my new coat with those Spanish girls
I’d never have obeyed the tannoy on 7/7
I’d never have heard my darkness on Old Street
I’d never have talked Bonhoeffer with that friendly American
I’d never have tasted the claustrophobia on my tongue
I’d never have hummed that lame little chorus to myself
I’d never have gone to meet her at Sloane Square
All the journeys
would have been
the same
We’re always telling you to speak up
We’re always slapping you around
Explain yourself
Bet you can’t guess who hit you?
Me.
I like it that you’re a quiet sort of person
Word and no word
I can’t imagine you babbling on and on
If you hadn’t stayed silent
I’d never love your kiss
more than prophesies or answers
I’d never want to keep playing
this brilliant hide and seek faith-game
I’d never ache
to see the light again