Ryuji Tanaka, Nature ’89, 1989, Mineral pigment on panel, other materials 60.7 x 72.6 cm (23 7/8 x 28 5/8 in.) Courtesy of the artist and Simon Lee Gallery, London / New York
It may seem odd that, no sooner had so many artists in the latter half of the nineteenth century begun to successfully assert their independence from established art institutions, such as the Beaux-Arts in France, than there was a rush to form new groupings, to gather together under new rules and with new criteria for entry. Many artists in subsequent generations would come together to form alternative collectives – the artistic movements with which we are familiar such as Dada and the Surrealists, and other later movements which are less well known, such as COBRA and Gutai. So many of these collectives were underpinned by manifestoes in which, ironically, one variety or other of artistic independence was declaimed. But they were often loosely held together communities of thought and any efforts to keep all participants on the same page failed. By the 1970s, the need for artists to identify collectively under a shared set of written principles had become the exception.
Ryuji Tanaka, installation view of exhibition at Simon Lee Gallery London, image courtesy Simon Lee Gallery London, 2017
The Japanese group of artists known collectively as Gutai Bijutsu Kyokai (Concrete Art Group – formed in 1954 by Jiro Yoshihara ) cited in their manifesto an artistic kinship with certain Abstract Expressionists who were working almost contemporaneously – most notably Jackson Pollock. What the Gutai artists saw in Pollock was a singular emphasis on paint itself – what they recognised as “the loud outcry of the material” – at the expense of any imagistic possibilities in the medium that the artist might be tempted, by force of habit, to explore. The hyper-individualism in American art which was emerging through the Abstract Expressionists, would reach its accelerated apotheosis in the 1980s – an acceleration which would see the focus move away from painting.
Continue reading “Ryuji Tanaka @ Simon Lee London from 23/06 to 25/08 and New York from 13/09 to 28/10, 2017”
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Secundino Hernández, Rojo, 2016. Acrylic, alkyd, oil and lacquer on linen, 310.5 x 287 cm, 122 1/4 x 113 in. Courtesy the Artist and Victoria Miro, London © Secundino Hernández
I first saw Hans Hofmann’s paintings in the flesh in 1999 in a small collection at the Met – (part of a pilgrimage of sorts which included a visit to Hofmann’s mosaic mural for the New York School of Printing on West 49th Street, which features in the banner image for this website). I remember being surprised by the imperfect physicality of his canvases, buckling under the weight of paint. Still, as rough and ready as these paintings looked, they were the genuine article.
If the finish of Hofmann’s canvases was an initial disappointment to a naïve art student brought up on reproductions, then it was a joy to discover many years later the fresh and rich paintwork of the Spanish artist Secundino Hernández. This, I thought, must have been what Hofmann’s surfaces looked like before they acquired a layer of New York grime.
Matisse observed that “…a big painting needs more architecture, more technique”. Hernández works on a far larger scale than Hofmann did, but through his considerable technique his canvases somehow retain a very human measurement. The paintwork, modulating in tone and colliding with the same comfortable friction that Hofmann termed push and pull, is complex yet well resolved.
If certain places bring to mind certain colours, then Spain presents them all at once. Hernández works in Madrid, and his paintings seem to resonate with the opaque intensity of a sunlit urban landscape.
Secundino Hernández at Victoria Miro
Ernest Mancoba, Untitled (3), 1957, Oil on canvas, 16.5 x 13 in., Image courtesy of Aicon Gallery and the Estate of Ernest Mancoba
Ernest Mancoba (1904 – 2002) was born in South Africa, but spent the greater part of his life in Europe, moving to Paris in 1938, and to Denmark after the war, where he was a founding member of the COBRA movement. In Johannesburg Mancoba first trained in wood carving. One of his early sculptures depicted the Virgin Mary as a black woman. Despite the controversy this generated, Mancoba managed to remain above any limiting debate, always holding firm to “the belief in a universal bond of sharing that connects all humanity”.
Mancoba carried with him to Europe a very African treatment of figuration, which comes across in the decorative fragmentation of the totemic figure which is central to his work, and which reappears in multiple subtle variations. Mancoba’s training in wood carving too seems to have informed the very application of the paint itself to the canvas; often a series of discrete all-over marks applied to the canvas with the patience of a sculptor chipping away at a wooden panel. The painted surface acts more like a solid block of undifferentiated marks, from which the central figure slowly emerges, and back into which it can just as easily seem to recede.
Ernest Mancoba at Aicon Gallery New York
Untitled (no. 327), Collage, 7 1/2 x 6 3/4 inches, Executed between 1948 – 1954, Image courtesy of Davis & Langdale Company, NY.
For 37 years Henri Matisse owned a small canvas, The Three Bathers, by Paul Cezanne, regularly drawing from it intellectual strength and vindication for his own experiments with the painted surface. “If Cezanne was right, then I am right.” He observed, in acknowledgement of the lessons he had learnt from this small painting, before he finally donated it to the City of Paris. Matisse’s gift was a characteristically generous gesture, and a good example of his belief in the formative importance of research in an artist’s development. Matisse had by no means reached an end point with Cezanne, but simply wanted to share with others the source of so much of his artistic conviction.
Occasionally, an artist’s introduction to the work of another can have such a profound effect that it can shape their work from that moment on; very much like discovering a vocation. And if a vocation is founded as much on an intangible sense of compulsion as it is on compatibility, then the attraction one artist can feel to the work of another is driven by a combination of equally mysterious forces. Continue reading “Anne Ryan / Collages @ DAVIS & LANGDALE COMPANY INC. / New York / January 31 – May 20, 2017”
In The Studio is a series of occasional interviews with emerging artists talking about their studio processes and the things that motivate, frustrate and inspire them. For the third In The Studio I spoke to artist Tarragon Smith about his work.
Continue reading “In The Studio #3 – Tarragon Smith”