The trip to the gallery was informative, insightful and enjoyable.
Firstly it gave us a great view of not only how art is displayed in a gallery setting but also why.
It was amazing to see Do Ho Suhs stitched portraits, up close and personal:
The detail he has created with a sewing machine on paper is astounding, the colours are bold and striking and the piece invites contemplation.
Another person of interest to me was Grayson Perry, who’s tapestry #5 was on display. This was important to me as I was tasked to find some LGBT artists, as its LGBT month February, and Grayson himself fits the bill exceptionally well 🙂 His ability to recreate fine art in fabric is divine, the man has no bounds it would seem, I did voice, as my own opinion to the fact he blatantly steals famous art and uses it for his own purpose, that he in fact makes the art better because he puts it in a context where people have to look. Its awfully easy to walk past and say ”oh that’s a nice watercolour/oil landscape or city or building..”. its much harder to gloss over when you see them in all their glory on a road that leads to some place you might rather wish to go;
Given his wonderfully blasé attitude towards the middle and upper classes, it is not difficult to put myself into his scenery, skulking down the mysterious path behind the fence, heading to some manor house, apron and all!
Thirdly it opened my eyes, totally, to how to create a sculpture, I was thinking so hard on how to make a woman for my piece, I could not think beyond clay or a solid form, until I saw this wonderful piece by Dorothea Tanning titled: De Quel Amour:
This piece is made from textile and decomposable materials, Dorothea hs the mind that Art should ‘have a lifespan’ and not be immortal. Thus this makes the piece more valuable I would assume as the very nature of it means it has a limited life and it will not be here forever?
Either way, I felt overjoyed that I can make ‘soft sculpture’ that really it is true that ‘Anything can be art’ and this proved it to me. I set aside the need to create a solid form and will now progress towards an ideal.
The day also showed us that sometimes there are risks to be taken with curating, such as choosing display options. Commonly it is a rule that hanging pieces get a mid height position on a wall, often on their own, The Whitworth however, change the game play and instead produced a contemporary placement of watercolours across the two main walls in hall 1 :
Literally placing the pictures from floor to ceiling, in an almost haphazard way, that when you look closely at the layout, you can see a rhythm or logic to the hanging after all. The Whitworth themselves state this presentation of works has simultaneously been, not only a reason for high praise but the lowest insults too. Agreeing that it is indeed impossible to fully appreciate the art set on the highest or lowest lines for most of the general public, the actual display itself is so striking it is almost impossible to pass up the opportunity to investigate further. I would say I am completely in favour of the bold display.