Tate Modern:
Bruce Nauman
On 17th November 2017, I was, like a moth, instantly attracted to the bright lights of the Bruce Nauman exhibition (Tate Modern). His work demanded the viewer to (literally) take a step back and consider the purpose and context of his work. Nauman's extensive and imaginative use of media transmits a multitude of different ideas simultaneously. It is clear that his previous studies in Mathematics and Physics informed his practice and are a domineering influence on his work. One piece which caught my attention was 'Violins, Violence, Silence' (1981).
Violins, Violence, Silence
1981
Bruce Nauman
The artwork itself was made of coloured neon tubing with a clear glass suspension frame. As the letters overlap, it is hard to initially distinguish what the piece is actually conveying, proving rather disorientating. Additionally, the buzzing noise which accompanies the piece (originating from the neon tubing) is somewhat distracting. However, it is ironic that while reading 'violins' evokes a pure and unpolluted noise, in reality you are faced with a low, droning buzz. I enjoy the irony of Nauman's work and the complex ideas which lie behind the lights. There is much more to this piece than is initially apparent and I hope that other visitors to the gallery take the time to consider its complexity.
Another piece in the exhibition which caught my attention was 'Raw Material Washing Hands'(1996). The video, which documents one individual washing their hands constantly for 55 minutes is difficult viewing. It is reminiscent of a person suffering from obsessive–compulsive disorder (OCD) in which the individual is performing a routine repeatedly, as though it were a ritual. The video becomes painful to watch as we see the individuals skin being overworked by the soap and water and I must admit that although the video runs for just under an hour, I watched it for no longer than 10 minutes.
Raw Material Washing Hands,
Bruce Nauman
1996
After seeing Nauman's work, it is clear that he questions and stretches the boundaries of what it is to make art. He has purposefully left behind traditional notions of 'fine art' and has distanced himself from paint as a medium.
All Too Human
As an avid follower of Francis Bacon’s work, the All Too Human exhibition at the Tate Britain was unmissable. Bacon’s work, some of which has not been exhibited in the UK for thirty years, did not fail to impress, with the familiar bold colours and contorted figures acting as centerpieces on the walls. Examples included, Three Figures and Portrait, and, Study after Velazquez’s Portrait of Pope Innocent X, both of which are unsettling and disturbing, a key and unavoidable feature of Bacon’s early work.
Study after Velazquez’s Portrait of Pope Innocent X Three Figures and Portrait
Francis Bacon Francis Bacon
Alongside Bacon’s paintings there were works belonging to other postwar British artists, including Lucian Freud, Walter Sickert and David Bomberg. The exhibition also reflected the multicultural fabric of London, with both the artists themselves and their models belonging to a range of nationalities. Freud’s, Sleeping by the Lion Carpet, also challenged the traditional notion that models should be positioned in what is commonly thought as ‘attractive’ poses. However, it arguably portrays a more realistic insight into what it is to be human.
Sleeping by the Lion Carpet
Lucian Freud
Together, the pieces in the exhibition demand that the viewer challenge the notion that a photorealistic image is the most effective way to capture the essence of what it is to be human. Indeed, in many paintings, the depiction of flesh as raw and disfigured gives the viewer a deeper insight into the personality of both the artist and his muse. The viewer is able, for a moment, to enter into the (often complex) relationship between the painter and the sitter. This becomes especially interesting when looking how an artist depicts their lover. For example, Bacon and Dryer, and Freud with Epstein.
Girl with a White Dog Three Studies for a Portrait of George Dyer
Lucian Freud Francis Bacon
Often, the complex relationships and the intense emotions shine through in the paintings and one sees not only the beauty, but the ugliness too. The vulnerability which accompanies nakedness adds another layer to the human condition. The bodies are stripped of any distractions that might take the viewer’s attention away. For example, before, one might look at the details on the buttons of the muse’s shirt, or the hem on their dress, but now, they are forced to engage with the skin itself. This throws the viewer instantly, and walking around the gallery you often see some viewers only giving the paintings a quick glance, whilst also judging those who spend more time studying them.
Nuit d’Été
Walter Richard Sickert