Reviewing: Giacometti

This is the second Giacometti exhibition in London of late - the NPG's 'Pure Presence' show fell in the 2015/16 season and was very well received - so there is clearly an appetite for his work in the capital.
Of this exhibition, the Tate Modern say:

Celebrated as a sculptor, painter and draughtsman, Giacometti’s distinctive elongated figures are some of the most instantly recognisable works of modern art. This exhibition reasserts Giacometti’s place alongside the likes of Matisse, Picasso and Degas as one of the great painter-sculptors of the twentieth century. Through unparalleled access to the extraordinary collection and archive of the Fondation Alberto et Annette Giacometti, Paris, Tate Modern’s ambitious and wide-ranging exhibition brings together over 250 works. It includes rarely seen plasters and drawings which have never been exhibited before and showcases the full evolution of Giacometti’s career across five decades, from early works such as Head of a Woman [Flora Mayo] 1926 to iconic bronze sculptures such as Walking Man I 1960.

As the description explains, this exhibition works in broader strokes than the showing at the NPG, and as such gives a much more well-rounded view of the artist. You get to see his sketches, paintings and, of course, his sculpture.

His sketches and paintings are beguiling and complex, holding your attention as you try and figure out exactly what is being said, but, for me, it is the sculptural work where Giacometti's magic is most evident. He completed pieces on a tiny scale, whilst also producing huge works that tower over the spectator. His unique visual signature is said to explore the figure in the post-war era, everything irrelevant stripped away, but whatever is going on, the nature of his work is just mesmerising.

It is the first time a London audience has had the opportunity to see so much of Giacometti's work in one place, and it really gives you the opportunity to see his style and thinking evolve over time. The final encounter with his huge figurative work sends you out of the exhibition with a sense of his phenomenal talent and huge influence on the art world.

I thoroughly enjoyed the whole exhibition, and definitely recommend it. It is very rare for you to get such a detailed insight into a true master.

4/5: A powerful exploration of a life in art
Tate Modern
Until 10th September

Reviewing: Fahrelnissa Zeid

This week I took in a double bill of Tate Modern shows: Giacometti and Fahrelnissa Zeid. Of the two, Zeid's work was the most surprising, as she was a completely new artist to me - I got a ticket for her show on a whim when I went to see Giacomettii - but she proved to be a marvellous discovery.
Of Zeid, the Tate Modern say:

Trained in both Paris and Istanbul, Fahrelnissa Zeid was an important figure in the Turkish avant-garde d Group in the early 1940s and the École de Paris (School of Paris) in the 1950s. Her vibrant abstract paintings are a synthesis of Islamic, Byzantine, Arab and Persian influences fused with European approaches to abstraction. Many of her abstract works are monumental and demand attention.
Zeid’s reputation as an artist was cemented in the 1950s when she was living between London and Paris and exhibiting extensively internationally. The artist also began experimenting with painting on turkey and chicken bones, which she later cast in polyester resin panels evocative of stained-glass windows. In the later years of her life she unexpectedly returned to figurative painting, creating stylised portraits of her friends and family.
Indulge in Zeid’s obsession with line and dazzling colour in this exhibition. Rediscover one of the greatest female artists of the 20th century in this first major retrospective.​

Internationally trained and widely recognised in her contemporary moment, Zeid has since - as the exhibition points out - fallen from view. I, for one, am glad the Tate Modern has decided to take steps to bring her work out of obscurity, as I was stunned by the power of her painting, and want to see more of her.

Aside from exploring her fascinating life story,  the show charts her artistic development and showcases the raw emotion and scale of her work. Though there are some smaller works, a lot of what she paints is dramatic in size, and her use of colour, line, and pattern is nothing short of striking.

The huge abstract canvases draw you in, and it feels like there is something recognisable hidden in the patterns, if only you could stare at them for long enough. Her portraiture does nothing for me, but her use of colour across everything in the show is pure magic.

Overall, Zeid's retrospective is well worth catching.

4/5:Vibrant and hypnotic
Tate Modern
Until 8th October

Review: The Radical Eye

The Radical Eye is a Tate Modern exhibition, looking at the impact of Modernist photography on the medium as a whole. The exhibition is described, by the Tate, in the following terms:

This is a once-in-a-lifetime chance to see one of the world’s greatest private collections of photography, drawn from the classic modernist period of the 1920s–50s. An incredible group of Man Ray portraits are exhibited together for the first time, having been brought together by Sir Elton John over the past twenty-five years, including portraits of Matisse, Picasso, and Breton.

This spiel suggests that it is an exercise in big-name spotting, especially given the identity of the collector, however, it is much more than that.

The photographs on show represent a significant turning point in the history of photography, and the aesthetics that are emergent in the collection are clearly the foundation of a lot of the journalistic and commercial photography we see around us today. Additionally, seeing this particular collection of Man Ray images together is a rare opportunity to observe some of the more 'radical' uses of photography, which creates an interesting contrast with the more straight portraiture and the photo-journalistic work. The combination of straight and experimental photography is powerful, and the images on show are captivating in their purity of expression.

The only draw-back if the exhibition is the fact that, if you're coming to the work without a sense of the history of photography, it is difficult to fully appreciate how much of a dramatic change in technique these images imply. You may also be left curious, as much is made of Sir Elton John's 8000 strong collection of photographs, and we are only permitted to see a very small portion of that number. The exhibition could have been much less sparse and delved deeper into that archive, as the amount on show seemed quite small.

Overall, The Radical Eye is a an exhibition of great - but simple - beauty, on the level of aesthetics. It's real power lies in its message about the boundary between photography and art, and as such raises questions about how we perceive photography today.

4/5: Well worth your time - incredible if you know the field, but might bear a bit of prior research if not.
 
Tate Modern, Bankside: 10 November 2016 – 7 May 2017