Artist Richard Dickson with his work No Rehearsal, featured in the window of Camden Image Gallery, packed with visitors for the opening night of the collective installation Indelible - NFTL Art 2016. It’s a striking and uncompromising piece in stoneware and copper placed to lead the eye in to the packed gallery featuring another distinctive show of just under fifty new pieces by Nude For Thought London, a loose collective formed in 2012. The pieces in the collective installation are thoughtful, exactly as the group's title suggests, the topic for the group's rhetoric is the human form and so clothing does not figure.
Public displays in the square outside Brighton Library show it’s Brighton Photo Biennial time again, a month of events and exhibitions both for the official Biennial and for the Fringe. The headline images on the publicity remain challenging to the eye and demand thinking through: as well as enjoying the work of some major photographers (in exhibitions which are free to visit) I’m looking to see how much we have moved on from the idea (aka “concept”) of an image is more important than how attractive it is to the eye.
Nestling amongst the skyscrapers of the City and within the distance of a First Thursday Art Walk from the renowned Whitechapel Gallery, the Leyden Gallery is hosting a show by Nude for Thought, a group of artists specialising in the male form.
This year’s show “re: Defining beauty” features a thought-provoking and wide range of styles. Jon Armour’s striking pieces dominate the entrance floor, he represents the painted skin of a male body displayed both splayed flat as a pelt and explored on video while still three dimensional, which he terms the enjoyment of a Visio-haptic experience. It’s worthwhile trying to work out exactly what body parts are being explored!
Counting cranes in the City of London from the vantage point of the café at the sixth floor of Tate Modern at Bankside, South London. We’d enjoyed a brief visit to the Pop Art exhibitions featuring works by Andy Warhol, David Hockney and Roy Liechtenstein, dating from the sixties.
It is the detail and scale which is large part of the joy of the direct viewing experience when viewing the original artwork of familiar images: the unexpected huge size of the canvas of Liechtenstein’s “Wham”, the detailed differences between instances of Warhol’s “Marilyn” screen prints and the way Hockney in "Man in Shower in Beverly Hills 1964" melds elements of a Californian residence with a post-cubist disregard for literal scale and relationships.
For the record, Jim and I lost count at thirty crane jibs...
Wildlife photographer Simone Sbaraglia gave a fascinating talk illustrated with many of his memorable, intimate, photos to a joint meeting of City of London and Cripplegate Photographic Society and RPS London.
Moving on from long distance photography using telephoto lenses, Simone has learnt to get close to the animals and, through patience, become accepted as part of their groups. This technique has yielded a succession of award-winning photographs in an intimate style akin to human portraiture where he has brought back in the image his emotional connection with the animals. The animals are letting him make the photograph. His training as a mathematician has informed another string of stylish animal photos which reveal much beauty, symmetry and tenderness, from which a human viewer implies emotion. His photos of Japanese cranes (tsuru) displaying on the ice are particularly memorable.