Lee Krasner: Barbican Art Gallery

“Living Colour” is an apt title for the Lee Krasner exhibition currently on display at The Barbican Art Gallery – as colour certainly has a live element to it throughout this retrospective as Krasner has periods where she uses simple charcoal in the 1930’s, experiments with colour in the post-war era, returns to muted shades during a period of chronic insomnia in the late 1950’s and embraces bold colour again in 1960’s and ‘70’s. Often overlooked as Jackson Pollack’s wife, Krasner was a pioneering abstract artist in her own right and I really felt I got a sense of the honest New-Yorker via the chronological journey of this show. Whilst some of the early mosaic works and self-portraits didn’t excite me, her charcoal life drawings begin to highlight her interest in abstraction and you can see the influences of other artists like Matisse and Picasso in these works. In the 1950’s this was developing further as she began incorporating newspaper, photographic paper and even some of Pollack’s test drawings into her colourful painted collage works – as well as increasing the scale and size of the canvas she was using. Following the sudden death of Pollack and a period of insomnia, Krasner created a body of works using a muted shade of umber (Night Journeys) as she painted through the night and refused to work with colour under artificial light. As perhaps sleep returned and her depression faded, colour resurfaced in a big way with vibrant pinks, oranges, blues and greens. A particular favourite was ‘Mister Blue’ created in sweeping blue motions, which made me smile even more when I learnt that Krasner was only 5 feet tall and would have struggled with some of these larger canvases! The final works incorporate more rigid shapes and sharper lines, where she revisits something she did earlier in her career cutting up previous bodies of work and including them in new pieces – again highlighting the “living” nature of her artworks.

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Gavin Turk: Newport Street Gallery

Back in London and the forecast promised a dry, crisp wintry day so I planned a walk along the Thames to Vauxhall followed by a visit to Gavin Turk’s exhibition at Newport Street Gallery. Alas the reality proved damp and drizzly, and by the time we reach the Gallery I was mildly sulking, but the current ‘Who, What, When, Where, How & Why’ retrospective instantly improved my mood! With an exhibition title asking so many questions, it seems only natural that the show itself should continue in a similar vein, inquiring deeper into issues around identity, persona and perception. It seems appropriate that Gavin Turk is not even the artists’ real name but a persona, creating a distinction between that and his personal identity; this idea is played with further with an artwork created from Yves Klein blue sponges in the shape of his signature and an oversized faux Hello! magazine cover in the opening gallery. Turk employs other artists’ identity with noteworthy homages to Jackson Pollack and Andy Warhol throughout the exhibition. One gallery is filled with pieces which could easily be mistaken for Pollack’s but on closer inspection reveal hundreds of Turks’ signature repeated across the canvas, and another pop-art inspired gallery is awash with screen-prints several of which include Turk himself depicted in Warhol’s infamous gunslinger pose. Similarly a collection of sculptural figures featuring a punk, a soldier, a vagrant, and a revolutionary hero again question cultural identities and how society perceives others by the clothes they wear. The final gallery challenges visitors’ idea of value and how we view items typically thrown away or perceived as rubbish, through a pimped up skip and discarded items created into sculptures. All these works are set against the gallery’s plain white walls and angular high ceilings which makes for a strong visual impact – and better yet, it’s free!

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