According to the old cliché nothing in life is free, however in the art world this is far from being the case. There are numerous galleries in London; the National Gallery, National Portrait Gallery, Tate Britain and the Tate Modern, to name a few, which are free. I am aware that you have to pay to see special exhibitions; however the breadth of work available to see without paying a penny is truly amazing.
It is possible to see masterpieces of the Renaissance, the Old Masters, Pre-Raphaelites, Impressionists, Surrealists and the best of contemporary art for nothing. It could be argued that this de-values art, but I would prefer to think that it in fact, makes art more valuable. After all, art should be available for all to see, regardless of the size of their pockets.
There is nothing better if you have a few hours to spare, than to wonder around one of these free galleries admiring the work on display. It is extremely unlikely that you will like everything that you see, you may not even like the majority of what is exhibited, but almost without doubt you will find something that you adore. Time after time you can return to see your personal favourites, or on second (or even third viewing) you will come to appreciate something which you had passed before without a second glance.
Saturday, 10 April 2010
Art of the Personal
Art is often used as a tool to react to the world in which we live, to the political and social climate in which we find ourselves, and the issues and debates which shape our communities, countries, and ultimately our own lives. However, art also has a much more personal and equally important responsibility, to give the artist or maker in question, the opportunity to grapple and come to terms with his/her own life, and his/her own unique problems.
This is not to say that art should be merely an introspective, catharsis for the artist, but rather that some of the most personal, most cherished possessions in a home, are also sometimes the most wonderful pieces of art. In the Quilts 1700-2010 exhibition, many of the works on display, were never meant to be exhibited as art, but used in the home for a particular purpose. It is only relatively recently that items such as quilts, bed linen and pieces of embroidery have been classified as Art with a capital A.
For this reason many of these pieces have an honesty and a clarity of message that is lacking in works by professional artists. There is a freedom here, a freedom not to conform to the trends and fashions of the particular period, as well as an ability to say anything without worrying about the sensibilities of the age. If a piece is to be seen solely within the confines of our own home, it is often much more personal and intimate than a piece which is knowingly going to be exhibited for the entire world to see. Perhaps, also crafts created for the home give us a better understanding of the period in which they were created, as well as the people who made them, and their lives. Do we not learn more from a quilt lovingly created from scraps of left-over fabric, each piece with its own story, and own significance, than we do from an oil painting created in the ivory tower of art college?
All forms of art are capable of beauty, but the art of the personal has a certain added magic.
This is not to say that art should be merely an introspective, catharsis for the artist, but rather that some of the most personal, most cherished possessions in a home, are also sometimes the most wonderful pieces of art. In the Quilts 1700-2010 exhibition, many of the works on display, were never meant to be exhibited as art, but used in the home for a particular purpose. It is only relatively recently that items such as quilts, bed linen and pieces of embroidery have been classified as Art with a capital A.
For this reason many of these pieces have an honesty and a clarity of message that is lacking in works by professional artists. There is a freedom here, a freedom not to conform to the trends and fashions of the particular period, as well as an ability to say anything without worrying about the sensibilities of the age. If a piece is to be seen solely within the confines of our own home, it is often much more personal and intimate than a piece which is knowingly going to be exhibited for the entire world to see. Perhaps, also crafts created for the home give us a better understanding of the period in which they were created, as well as the people who made them, and their lives. Do we not learn more from a quilt lovingly created from scraps of left-over fabric, each piece with its own story, and own significance, than we do from an oil painting created in the ivory tower of art college?
All forms of art are capable of beauty, but the art of the personal has a certain added magic.
Quilts 1700-2010: V & A Museum, London
Quilts 1700-2010 at the V & A is an exhibition that traces both the history and the social significance of quilts and quilt-making throughout Britain. The exhibition displays an eclectic mix of older, traditional quilts, along with work by modern artists such as Tracy Emin and Grayson Perry, as well as examples of quilt-making as a tool for good in society, such as the work of Fine Cell Work in prisons across the UK.
As with most exhibitions in the V&A, this one was extremely busy, making it hard at times to fully appreciate all the quilts. However, this is a very minor complaint, on an otherwise wonderful exhibition. Crafts are often over-looked by the art establishment, as they are often seen to be too low-brow, and lacking in true artistic merit or “vision”, I must admit that I disagree with this school of thought, and it was therefore, refreshing to see quilt-making being given its fair share of the limelight.
The works exhibited were organised chronologically which showed clearly how the social status of quilt-making had changed dramatically over time. Originally it was seen as a past-time suitable for upper middle-class ladies, and was a clear sign that someone had managed to climb the social ladder. However, with the rapid increase in imported materials, and shop bought textiles for the home, quilt-making became the preserve of those too poor to buy their own linen. This was true, until it experienced its recent renaissance due to hand-made, artisan crafts being very much in vogue.
The exhibition was successful in dispelling some myths about quilt-making, such as its reputation for being an almost exclusively female craft. There were works on display which had been created by men serving in the forces during the 18th and 19th centuries, as a way of keeping the soldiers from vices such as alcohol and gambling, and a patchwork quilt handmade by the inmates of Wandsworth prison. Furthermore, although there were many quilts which dealt with traditional themes and subjects such as the family life of its maker, be that a birth or a marriage, there were also quilts which dealt with a whole host of varies themes, such as the rise of China as a super power, Britain and multiculturalism, and abortion. These quilts proved beyond doubt, that this is a modern, thriving craft, that can effectively represent, not only the trials of the modern female (or male) life, but can also deal with issues that face the world as a whole.
I
will not attempt to describe even a fraction of the quilts on display, rather I will highlight my own personal favourites:
A quilt made from paper money, rather than from textiles, which showed the entire world made from the Chinese yuan. Not only was it obviously questioning the balance of power in the world today, and more importantly highlighted possible future changes in the world’s power structure, it was also exquisitely made, with exceptional attention to detail.
A patchwork made in India from minute pieces of military uniforms. The pattern and colours used have created a true masterpiece which has an aesthetic depth.
A design which used the symbol of the Union Jack, created in a number of different colour schemes to show the multicultural nature of modern Britain. Not only is the traditional symbol of Britishness used in a clever manner, it is also reclaimed from those organisations and parties which use it as a rallying cry for unsavoury standpoints.
Overall, this exhibition was remarkable, showing as it did the ability of ordinary people, with no formal art and design training to create truly beautiful work, and for that reason alone I would urge anyone and everyone to go to the V & A at once.
As with most exhibitions in the V&A, this one was extremely busy, making it hard at times to fully appreciate all the quilts. However, this is a very minor complaint, on an otherwise wonderful exhibition. Crafts are often over-looked by the art establishment, as they are often seen to be too low-brow, and lacking in true artistic merit or “vision”, I must admit that I disagree with this school of thought, and it was therefore, refreshing to see quilt-making being given its fair share of the limelight.
The works exhibited were organised chronologically which showed clearly how the social status of quilt-making had changed dramatically over time. Originally it was seen as a past-time suitable for upper middle-class ladies, and was a clear sign that someone had managed to climb the social ladder. However, with the rapid increase in imported materials, and shop bought textiles for the home, quilt-making became the preserve of those too poor to buy their own linen. This was true, until it experienced its recent renaissance due to hand-made, artisan crafts being very much in vogue.
The exhibition was successful in dispelling some myths about quilt-making, such as its reputation for being an almost exclusively female craft. There were works on display which had been created by men serving in the forces during the 18th and 19th centuries, as a way of keeping the soldiers from vices such as alcohol and gambling, and a patchwork quilt handmade by the inmates of Wandsworth prison. Furthermore, although there were many quilts which dealt with traditional themes and subjects such as the family life of its maker, be that a birth or a marriage, there were also quilts which dealt with a whole host of varies themes, such as the rise of China as a super power, Britain and multiculturalism, and abortion. These quilts proved beyond doubt, that this is a modern, thriving craft, that can effectively represent, not only the trials of the modern female (or male) life, but can also deal with issues that face the world as a whole.
I
will not attempt to describe even a fraction of the quilts on display, rather I will highlight my own personal favourites:
A quilt made from paper money, rather than from textiles, which showed the entire world made from the Chinese yuan. Not only was it obviously questioning the balance of power in the world today, and more importantly highlighted possible future changes in the world’s power structure, it was also exquisitely made, with exceptional attention to detail.
A patchwork made in India from minute pieces of military uniforms. The pattern and colours used have created a true masterpiece which has an aesthetic depth.
A design which used the symbol of the Union Jack, created in a number of different colour schemes to show the multicultural nature of modern Britain. Not only is the traditional symbol of Britishness used in a clever manner, it is also reclaimed from those organisations and parties which use it as a rallying cry for unsavoury standpoints.
Overall, this exhibition was remarkable, showing as it did the ability of ordinary people, with no formal art and design training to create truly beautiful work, and for that reason alone I would urge anyone and everyone to go to the V & A at once.
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