Nottingham Contemporary |
I spent another
weekend in Nottingham at a bit of a loose end recently, so took the opportunity
to visit the exhibition, ‘Aquatopia: The Imaginary Of The Ocean Deep’, at Nottingham Contemporary. Completed, (at some cost), just before the
money finally ran out, The Contemporary is a definite plus point in a city with
already quite a lot to offer culturally.
My own town of Leicester may have attempted to catch up in the last few
years but, sadly, still has nothing to rival that facility where visual art is
concerned. Luckily, it’s only a short
hop by road or rail between the two cities.
Nottingham Contemporary From The Rear, Lower Ground Level |
Nottingham Contemporary, Lace Pattern Detail |
If not exactly
beautiful, the Contemporary building is a striking addition to the fabric of
Nottingham and well positioned between the main shopping centre and the atmospheric
old Lace Market quarter. There are
various bars, cafes and restaurants nearby and it feels like a part of town where
one might happily hang out in off duty moments.
Architecturally, it exhibits a minimalism familiar in such institutions but
tempers excessive rigour with fluted facades, sage green and gold colouration,
and subtle surface detail relating to Nottingham’s lace-making heritage. Under favourable lighting conditions its
surfaces emit a pleasing pale golden glow.
It also cascades pleasingly down the sandstone cliff on which it is
positioned, with a stylish but comfortable café-bar spilling out onto a terrace
two stories below the entrance level. Inside,
the galleries are spacious, (although I wish they could have capitalised on daylight
rather more). I even like The
Contemporary’s retro logo/signage.
Nottingham Contemporary, Rear View With Cafe Terrace |
I won’t pretend
the ‘Aquatopia’ show is exactly life
changing, but it did provide a pleasant enough diversion for an hour. It follows a fashionable current template by curating
mismatched items representing various periods, cultures and media around a
common theme, (in this case, The Sea). These
included items of design and industrial manufacture as well as what is perhaps still called Fine Art. For me, it was nowhere near as inspiring as ‘Metropolis’ in Birmingham earlier this year but this may be in part because that mixed show tapped directly into
several of my own concerns. I was also
somewhat underwhelmed by the audio-visual work in Nottingham, whereas at ‘Metropolis’ I had been pleasantly
surprised by much of it.
Nottingham Contemporary From The Rear, Upper Street Level |
Perhaps my
biggest reservation about ‘Aquatopia’
is that it only provides glimpses of anything approaching a truly immersive
experience. It’s more like inspecting a
cabinet of salty curiosities than being sensually, (or emotionally), engaged by
the actual fluid immensity of the ocean. That approach does allow a number of
tangential and potentially interesting sub-themes to emerge, however. Anyway, the exhibition isn’t devoid of
highlights so, rather than focusing on what it doesn’t do, here are a few items
that did catch my attention:
Gustave Dore, 'Illustrations To 'The Rhyme Of The Ancient Mariner' By Samuel Taylor Coleridge', Wood Engravings, 1876 |
Gustave Doré, ‘Illustrations to ‘The Rime Of The Ancient
Mariner’ by Samuel Taylor Coleridge’, Wood Engravings, 1876: I loved these in reproduction from an early
age so it was a real pleasure to see eight of them for real. Doré’s meticulous engravings are full of
dark, gothic atmosphere, pleasing formality and memorable imagery. His small storm-tossed vessel, dwarfed by
looming waterspouts, captivated me especially.
Wolfgang Tillmans, 'Astro Crust A', Photographic Ink Jet Print, 2012 |
WolfgangTillmans, ‘Astro Crust A’,
Photographic Ink Jet Print, 2012:
Tillmans’ large photographic image zooms in close on the crustaceous
architecture of a broken cooked lobster.
Any enjoyment of the sensuous colour and craggy detail is subverted by the
present of a sinister, black fly grazing on the flesh. It transforms the image into something
queasily alien and reminds us of the flyblown decay often prevalent at the
sea’s margins.
Ashley Bickerton, 'Orange Shark', Polyurethane, Nylon, Cotton Webbing, Stainless Steel, Scope Distilled Water, Coconuts & Rope, 2008 |
Ashley Bickerton, ‘Orange Shark’, Polyurethane, Nylon, Cotton Webbing, Stainless Steel, Scope, Distilled Water, Coconuts, Rope, 2008: For more than one reason, sharks became something of a signifier for contemporary art around the start of the century. Bickerton’s suspended Hammerhead has a cheerful, ironic appeal being cast in transparent purple plastic and clad in its vaguely fetishistic orange nylon jacket. Such knowing references to the processes of industrial design are very typical of his work. The coconuts and bottles of distilled water suspended surreally beneath it, and the general materials employed, seem to evoke certain ideas about buoyancy.
Edward Wadsworth, 'Regalia', Egg Tempera & Oil On Gessoed Canvas On Board, 1928 |
Edward Wadsworth, 'The Beached Margin', Tempera On Gessoed Canvas On Wood, 1937 |
Edward Wadsworth,
‘Regalia’, Egg Tempera & Oil On
Gessoed Canvas On Board, 1928. And: ‘The
Beached Margin’, Tempera On Canvas On Wood, 1937: Although separated by nine years, both of
these paintings demonstrate Wadsworth’s clear-eyed and illustrative, formal
precision. Like the self-conscious
modernist he was, Wadsworth created highly artificial, nautically themed
arrangements of objects in which the mechanical takes precedence over the
natural. Whilst ‘Regalia’ follows the still-life model, ‘The Beached Margin’ depicts a fictitious, sculptural beach installation
including a starfish and forms resembling technical instruments. Both are suffused with clear coastal
illumination and convey a particular air of marine Surrealism.
Karl Weschke, 'Caliban', Oil On Canvas, 1974 |
Karl Weschke, ‘Caliban’, Oil On Canvas, 1974: I’ve written before about my enthusiasm for
Weschke’s work and his intense, Germanic take on the Cornish Coastline. When, as a student, I met him years ago, he
spoke with an impressive intensity about the destructive power of the sea that
seemed a world away from the politer, more formal concerns of the other 20th
Century St. Ives School painters. This
dark canvas, (which appears much lighter in reproduction,) represents
his existential interest in solitary, prone figures adrift in the water or
washed up on the beach.
Miller Dunn Co., Miami, Florida, 'U.S. Navy Standard Diving Hood, Style 2', Brass & Glass, 1851, (Similar Example). |
Miller Dunn Co.,
Miami, Florida, ‘U.S. Navy Standard
Diving Hood, Style 2,’ Brass & Glass, 1851: Although clearly a manufactured utilitarian
object, this robotic brass helmet works just as well as a readymade Art object
with somewhat sinister overtones. It’s
impossible not to identify with the original wearer, and the sense of claustrophobic
enclosure and vulnerability within a foreign element that they must have felt
on the seabed, radiates from it palpably.
J.M.W. Turner, 'Sunrise With Sea Monsters', Oil On Canvas, 1945 |
J.M.W. Turner, ‘Sunrise With Sea Monsters’, Oil On
Canvas, 1845: I guess, for some, this is
the biggest draw in the show, given Turner’s status as a superstar of British
art with mass appeal. It’s possible to
get distracted by all that and overlook just how radical a painter he was,
certainly by the conventions of his time.
This is one of those typical Turner seascapes in which the nominal, (and
in this case, frankly ludicrous), subject is subsumed within a nebulous world
of liquid, vapour and light. The horizon
dissolves and those sketchy, nominal monstrosities become effectively irrelevant as
he pulls off the stunt of transforming coloured paste into pure atmosphere once again. Actually, although not huge, this
one is pretty immersive.
'Turps Banana, Issue 13': Pleasingly, Still Solvent |
On my way out of
the Contemporary I picked up a copy of the twice-yearly painting magazine, ‘Turps Banana’. I don’t consume many art magazines but do
enjoy this one, (when I find it), for being written for painters by painters
and also for its total lack of advertisements.
Coincidentally, after viewing Karl Weschke’s painting, I received
another reminder of my student days. The
magazine included a conversation between big-name painter Albert Irvin and
Stewart Geddes – a contemporary of mine on the Fine Art course at Bristol
Polytechnic in the early 80s, (at least, I'm assuming it's the same guy). I remember
Stewart as being very serious about his painting but also really entertaining
company, (and especially hospitable, one particular Christmas). It’s good to know he’s still painting and
moving in pretty exalted artistic circles.
Mark Gubb, 'Nottingham Contemporary Corporate Ident.' |
You can still just catch ‘Aquatopia: The Imaginary Of The
Ocean Deep’, Until 22 September 2013, At Nottingham Contemporary, Weekday
Cross, Nottingham, NG1 2GB
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