Few things fill me with genuine contentment more than strolling down a street towards an art gallery on a sunny Sunday afternoon, with a strong black coffee in hand! And that is exactly the position I found myself in last weekend… heading towards Whitechapel Gallery to catch the Mary Heilmann ‘Looking at Pictures’ exhibition on its final day. This retrospective explores the American abstract artists’ past five decades of work, from her early geometric paintings of the 1970’s through to modernday shaped canvases in day-glo colours. It opens with the honest statement that Heilmann studied poetry, ceramics and sculpture in California but failed to make it as a female sculptor, before taking up painting when she moved to New York in 1968 – her background in sculpture and ceramics is immediately apparent as she clearly views canvases as three-dimensional objects often painting their sides, as well as using her fingers to manipulate paints and create textured surfaces. As you move to the upstairs gallery you are greeted by a projected slideshow entitled ‘Her Life’ which shows photographs Heilmann has taken alongside the abstract images she has created in response to them; not only does this help give context to the exhibition but it is also interesting to witness her interpretation of everyday scenes. The final gallery displays more personal works, and also contains examples of Heilmann’s chairs in a variety of pastel colours enabling visitors to sit down and view and discuss her works at a leisurely pace. Some pieces are intensely biographical including ‘311 Castro Street’ which was the artists’ childhood address and ‘Maricopa Highway’ which was a road-trip she regularly took, and one final piece depicting a crashing wave in bold, lush greens and blues offers visitors a final reminder of Heilmann’s distinctly Californian background.
I must concede I underestimated Jeff Koons until yesterday, and Newport Street Gallery’s current ‘Now’ exhibition happily opened my eyes to just how talented an artist (in particular a sculptor) he is. The show opens with some of Koons’ earliest work from the late 1970’s; a combination of his inaugural inflatables as well as a reconstruction of ‘The New’ exhibition from New York’s New Museum in 1980 showcasing five brand new vacuum cleaners and floor polishers taken straight from their packaging and placed in acrylic boxes affixed to florescent light tubes. The next gallery suddenly steps up a gear and the double height ceiling showcases the artists’ ‘Balloon Monkey (Blue)’ to maximum effect. This monumental sculpture looks like an enormous helium balloon twisted into the shape of a monkey, however is actually created from highly polished stainless steel with stunning attention to detail in each twist and the knot of the balloon. This desire to play with viewers’ perception and challenge the choice of material used is a recurring theme throughout the exhibition, echoed in the upstairs galleries with inflatable beach toys made from aluminium which look convincingly like plastic, and a huge ball of playdoh formed from twenty-seven individual pieces of cast aluminium and held together by their own weight! Impressive sculptures in their own right, the unexpected material and reflective surfaces make for an engaging experience as you see yourself and other visitors mirrored and morphed in each piece as you walk around them trying to understand their mechanics. To combat this playfulness, there is a more adult – indeed explicit – element to Koons’ work, evident in his ‘Made in Heaven’ series of erotic images of himself and his then wife (Ilona Staller) alongside an enormous bowl of eggs and other not so subtle symbols associated with love and sexuality.