Josef Herman; The unseen forced journey of a Warsaw artist to a Welsh mine.

Josef Herman is arguably better known in British Contemporary Art for his extensive paintings and portraiture of Welsh miners from the small town of Ystradgynlais; in which Herman embarked on a life/artistic altering decision; presenting these town miners as his subject.
Though to capture a community the way in which Herman beautifully did, he had to be part of that community. Accepted through his warm character and charismatic way this small Welsh town welcomed him into their lives and even nicknamed him ‘Joe Bach’ (Joe Small). Herman was later quoted as saying: "I stayed here because I found all I required. I arrived here a stranger for a fortnight; the fortnight became 11 years." (Josef Herman)
By living within this strong community, Herman was able to naturalistically mould his artistic style to capture the realistic images of miners from Post War Wales, securing him with the title of being the artist of the time to reveal the 'working man' in Britain.

The Ben Uri Museum Gallery plays host to this unique exhibition charting Josef Herman’s extraordinary fleeing journey through Brussels, Glasgow and London up to his most artistic influential point in Wales. The Polish artist later moved to Suffolk then to London but commented towards the end of his life; "Only Ystradgynlais changed my life and my work… When I left I took it with me." (Josef Herman)
Being interested in Contemporary Art, I too only knew of Josef Herman through his stark portrayals of those Welsh miners from Ystradgynlais, seen in Herman’s 1949; Street in Ystradgynlais [inkwash, 20 x 26cm]



Or the 1949; Seated Miner [Oil on canvas, 130 x 95cm]:



And not truly realising his artistic journey through a war torn Europe to the end production of his most renowned works.

This exhibition, beautifully curated by Sarah MacDougall within the hidden gem which is the Ben Uri Gallery, St Johns Wood, takes the viewer on a detailed biographical journey following Herman’s fleeing passage which prompted him to leave Poland from the mounting anti-Semitism groups to his significant life in Wales, (which as they say; the rest is well known history). This current showing is the largest exhibition of Herman’s work to date, revealing works that have possibly never been witnessed or exhibited publicly before. MacDougall takes great care not to bore the viewer with prominent images that we know Herman was famous for producing (like the miners series), but allowing the gallery to be filled with detailed works showing the life behind the artist; to see his exact influences to produce what we know as Josef Herman.

The exhibition is placed on two floors, (though the gallery supplies a computer screen for visitors unable to access downstairs of the images on show) and divided between four parts which eloquently transposes Herman’s 6 years of forced emigration from Poland to Wales. This exhibition is also accompanied with a beautiful detailed catalogue with further unseen works and written essays from these exact periods of Herman’s life, well worthy of the money to purchase and impressively compiled together also by Sarah MacDougall.

My Favourite painting from this collection of work has to be Josef Herman’s 1944; Self Portrait in Mirror, a remarkable and quietly haunting image of the artist whose dark eyes pierce outwards to the viewer behind the smudging darkness of the shadows around his face- a mesmerising and intriguing painting.



Seeing this work of Josef Herman; understanding the journey he endeavoured to his producing of the Welsh Miners paintings (which can be viewed at the National Gallery in Wales) and knowing his moving philosophy of painting; he painted because he had something to say about life and made work to have a resonance in today’s world, for me, has the beauty of illuminating the working man; his work and his life, and as recent events have unfortunately occurred in the village of Cilybebyll, South Wales; the death of that raw beauty only to be remembered through images.

A truly stunning exhibition to celebrate the work of Josef Herman, a must see for anyone with an interest in contemporary art. “WOW, I think this is a stunning exhibition that I’d want to come back and see again and again!” Jeremy Isaac

Images courtesy of The Ben Uri Gallery; www.boundarygallery.com/herman_permanent.html and Bernard Mitchell.

Josef Herman Exhibition is on at the Ben Uri Gallery, 108A Boundary Road, St John's Wood until 15th January 2012.
www.benuri.org.uk

Soul Queer Perspective!

David McAlmont's take on the Queer Perspective tour at the National Portrait Gallery was a truly amazing adventure into some of the hidden secrets that surrounded some of the sitters, their concealed {same sex} lovers, including the statue of Albert and Victoria, which McAlmont had a few suggestions to share...

David McAlmont spoke beautifully with such passion about the selection of portraits and sculptures he chose as part of our tour around the gallery. Revealing myths and stories that have been branded about the certain sitters and painters; delving into their hidden lives on their quest to find love.

Accompanied with the artist Sadie Lee who was on hand to respond to any questions and give her view, as an contemporary artist on the portraits McAlmont had chosen.

My favourite portrait of this tour has to be by Thomas Burke of the famous boxer Len Harvey.

Burke was desperate to paint Len Harvey, that it took him most of his professional career until he was able to capture this acquisitive portrait. Shown as what the viewer can imagine a 'typical' boxer to be like; a towel draped around his neck, an over sized velvet robe, a clenched fist, and a side ways glance revealing Harvey's strong jaw line and angled nose- (or hiding that black eye??) We don't know- yet, as McAlmont went on to describe, the obsession Burke had to paint Harvey could have been out of more admiration and love for the boxer. I'd like to believe that this could be the case, as the outcome of this portrait reveals the delicacy of Burkes work to make a boxer 'float like a butterfly'

A beautiful tour!

Emin times 2!!!

I went to see Tracey Emin's latest exhibition at the Hayward Gallery... for the second time! And truth be told, I am glad I did.

I haven’t previously been to see an Emin exhibition before or seen any of her work live; only through the expressions of others I have heard of her work and, more so, her artistic and lively character. Armed with my knowledge of what I should expect and how I should feel, I entered into the Hayward Gallery with my glasses and Dutch courage; wanting to be shocked, awe inspired and a slight sense of a Che Guevara swagger ... only to walk away feeling angry.

Being blunt; I felt the exhibition was self obsessed, absorbed and filled with a 'charity'-like plea of her life to date. Divulging her hard upbringing and poor status, she revealed the hardships she has had to encounter when growing up. (Even though she has a degree AND a first class Masters degree, and the exhibition is sponsored by Louis Vuitton- her life seemed hardly...hard).

I was disappointed...but I wasn’t too sure if it was mainly to do with what I had witness and expected to witness, or in fact that I was disappointed with myself and not understanding this art. My fellow exhibition visitors seemed in admiration of her work and the deepness of her world that she chooses to express visually. I didn’t get it...should I? Shouldn’t I? Should I be feeling angry...or maybe it’s too clever for me?

My head was armed with too many questions... I decided to return to the Hayward for a second time...though- not looking for an Emin shock; but too see a daring artist's work. And I’m glad I did.

Taking the time to immerse myself in her world, and trace her story from specific points she directly steers us to, I am astounded to see Emin’s personal qualities shine through her work.
You expect to see Tracey Emin work as what she is known for, and you do. Sharp, shock and bold; the boldness of her quilt pieces are memorable, funny and direct to the point. Leading into the neon written signs illuminated within an expanding velvety dark room, which appeared to make the words stand out as if you were drunk in a club. (I especially liked the words which were crossed out; revealing the mistakes- visibly)



As I walked further into her exhibition; the Emin bravado started to crumble and dissipate, showing warnings of her fragility. As if unwinding a ball of string; the shock intrepidness diminished to allow her vulnerability to untangle itself, and what I was left with was a brave artist expressing/ discovering her past through the art of publically showing.



My favourite piece is Knowing my Enemy (2002); “a vast sculpture of a collapsed pier, with a hut at the end. Made in response to a letter from her father (framed on the wall of the gallery), it's her vision of the safe haven he longed for but could never quite reach”. (http://www.wallpaper.com/art/tracey-emin-retrospective-london/5273)

Taking over the whole room, this massive structure devours the visitor underneath its rotten beams and rusty nails, giving the sense of danger lurking from a cherished childhood memory, completely breathtaking to see this silent structure that has a ghost like presence in the ground floor gallery space.

So OK, Emin can’t be for everyone, and I am still racked with unanswered questions about her work and intentions. But her braveness to reveal the fragments of her existence through fragile and intimate ways are without doubt...beautiful.




It was not through studying Art Theory- but, simply opening my eyes to appreciate of an importance.

Potiche of genius!

Went to see French film Potiche at the lovely Barbican cinema. I was also treated to a short film before the main title by animator and filmmaker Jessica Wainwright, as part of the Watch Me Move Exhibition currently on in the main gallery.
This short film animation is both lovely, charming and a joy to watch. Constructed together around a monologue text by Betty, images are created and quickly dissolve into the next thought. If you have a nan or are indeed (as myself) from Wales you'll find this film funnily quite close to home. The innocence of the character Betty displays warmth and beauty, I'm glad this was found, please watch....

Betty from Jessica Wainwright on Vimeo.

"Catherine Deneuve excels as a trophy wife (potiche) turned factory boss in François Ozon's hugely enjoyable, witty farce set in seventies France based on a stage play by Pierre Barrilet and Jean-Pierre Gredy.

Suzanne (Deneuve) lives a comfortable but limited life as an affluent housewife. Her husband, the arrogant, philandering Robert (Fabrice Luchini) runs the umbrella factory her father created (a return to umbrellas for Deneuve, almost 50 years on from her role in Jacques Demy's The Umbrellas of Cherbourg). But it's 1977 and Robert is hospitalised following an encounter with strikers when unrest hits the factory. Suzanne takes the reigns and is aided in worker relations by old flame and communist major (Gerard Depardieu)".

This beautiful French film had me in tears of joy, happiness, laughter, sadness and at times sheer anger and disbelief at individual attitudes towards women in the work environment. Cleverly crafted with a superb cast makes this film one of the best I have seen this year. The mature storyline allows romances to be rekindled and sparked while the choice of career and love and in debate. The plot issue of women having power within the workplace reminds me of how far we have come as a society now, though only too real that these subtle issues, may be subtle, but are still relevant today. I may not class myself as a feminist but I completely agree with the principles! I couldn't stop watching, and by the audiences reaction this film was a great success!

A sculptor making live work not ART!

On and Off Stage: Experimental Theatre and Visual Art Performance- a lecture talk at the Barbican Centre chaired by Joe Kelleher with Theatre maker Tim Etchells, Sculptor Bruce McLean and Performance artist Tai Shani. (Curated and managed by Emma Ridgeway)

An interesting evening with debates between performance work, performance art and live art works. Tim Etchells opened to describe the ‘Event’ taking place between visual art, installation and fiction, and how this event determines the relationship with the viewer.

“The event of encountering art,
The event of encountering each other!” (Etchells 2011)

Installation;
The idea of having an unknown narrative- the viewer is already in a performance that you do not know the boundaries of. You are entering a world- established?- where the outcome matters entirely with the event of you/the viewer inhabiting that environment/ space. Creating a live performance that is full of risk and excitement with an unforeseen narrative arc.

Leading into visual artist; Tai Shani who is interested in making live work by searching for intensity within her process. This often looks at the concept of making work that has a lot of ‘risk’; trying to find the failure of live work, and letting that play towards a viewer. The way in which she was speaking made me think of her as being a new Forced Entertainment mind, creating challenges and games where her work could epically fail or push interesting boundaries. Immanent catastrophe!

But who is this a failure for? The artist? The actors/performers? The viewer?

Shani: “Artist as themselves. But if you gave the actors space to play- then it’s all play- the failure is the overall result/ the questions being explored”.

Sculpting your presence…

Bruce McLean a sculptor (making live work). This interesting, exciting ‘can hardly contain himself’ man has throughout his career question what it is to be a sculpture, to make sculptures. He is very much interested in the mistake- the failure. He reiterates that his work does not exist, he takes no photos- it’s live and it ends.

The talk progressed into the conversation topic of art in spaces, McLean questioning why do we need to go to a Gallery to see art;

“Art doesn’t take place in a gallery. Theatre doesn’t take place in a theatre. It’s in the streets, in our restaurants.” (McLean 2011)

Visual images are vast becoming everywhere in our societies lives, from media slogans, advertisements, live art, graffiti to traditional portraiture. A lot of art pieces are becoming too institutionalized where it no longer becomes about creatively challenging work but accommodating artistic work to ‘fit in’ with corporate guidelines etc. How do you need an audience to watch?

Coming away from this talk I found myself liberated to be in admiration of a sculptor who doesn’t create ART, but makes live work, that after time only becomes a memory- it’s the liveness of his pieces that create the piece of work itself. I must say Bruce McLean has restored my faith in art as a form to reveal live performance.

And what occurred to me as a viewer of this discussion is that all three practitioners in their own field are interested and fighting to create ‘live’ work, (I wonder if they knew it also?)

John Wrights...just alright

I went to see John Wright's Double Bill of Baby Boomers and The Confetti Maker at the New Diorama Theatre. After working with numerous collaborators who have previously work shopped with John Wright my expectations are high, unfortunately the shows did not live up to the hype surrounding his work.

Baby Boomers is a heart warming story of an old women's journey back to her youth and the unfolding of her tragic past which has plagued through her life. There are moments of pure joy and magic, from the balloon figures, bubbly characters and the simple sentimental moments of humanity. The beautiful characterisation of Nick Ash's 'elderly woman' is a wonder to watch, as you can see the detail of work that has gone into making her live through Ash's body and mask work. Unfortunately the same cant be said for Becky Kitter's 'elder gentleman', in which her youthful energy and womanly features creep through her characterisation, and you believe no longer in the character.
For me the performance and story really came alive in the darker moments, where the use of mask and silence really played and worked well together, I just wished there were more riskier moments like this, which really played with the audiences emotions.
Balloon work and the 'magic' design of these balloon images are outstanding and a joy to watch. Overall an OK performance.



The Confetti Maker was presented in a completely different style and tempo, much to my relief. Frank Wurzinger's solo performance is a joy to watch, his relationship with the audience is engaging and exciting. I was drawn from the beginning of the performance, and only from small moments where the action dragged and the story became lost (mainly with the baby and wide side storyline), overall I was capitulated with Wurzinger's performance, combining slap-stick, puppetry, improvisation and great comical timing to that of Chaplin. This was an underrated performance, (with a little work) will be an amazing show.

Clowning Drag at the RVT!

Went to see Dickie Beau's one man show at the Royal Vauxhall Tavern. Walking into the mysterious RVT unexpected what I will see, I am greeted by... a clown? a woman? a man?...Dickie Beau in white face drag on top of a steel ladder in the middle of the stage.
I quickly sit down by the bar daring not to buy a drink until the safety of the interval in this intimate venue setting.

Still not too sure what was going to take place, I watched the show with interest and started to realise how clever this performance is. Dickie Beau crosses discplinines; at times clowning into mime into drag comedy, which I was surprised actually worked. Challenging perceptions of drag lipsynch he cleverly makes bold choices of when to mime in synch and when not to, often opening up further questions about the work he is doing. Using visual media tools to divide his show up seemingly flows from one act to another both visual and live performances compliments and support each other.
Using simple devices and techniques; like 'opening the curtains and sweeping away the stage space' promptly clears the air (as it were) to draw a line under the raw issues conversed in his act.
Still trying to understand the big 'queer theory' world, I am stunned by the impressive Dickie Beau's show by the interdiscplinary elements of his act, cleverly staged and well thought out.

Drag clown is the way forward!