Gesamkunstwerk – Saatchi Gallery

From the banal to the sublime…

 

Volker Hueller – Self Portrait.

‘Gesamkunstwerk’ – ‘a total work of art’ – uses all or many art forms. (Dictionary definition.)

Intrigued by the title which has many facets and does not easily translate into English I made my first trip to the new Saatchi Gallery. A little late in the day but then I only visited the original one in North London a couple of times and missed out on the South Bank farrago. Intrigued however was not how I felt by the time I had left and I certainly had not seen an all encompassing show of the arts as promised by the title. Indeed I felt more like I had entered a time-warp and stumbled into the New Spirit in Painting show at the Royal Academy circa 1981 but without the same excitement or technique on display. The most impressive feature was the building itself which is a Wagnerian symphony of contemporary gallery chic and cannot be faulted. Indeed a more impressive set of floorboards I have never seen. If the building is intended to impress it succeeds but at what cost? Most of the work seemed quietly subdued by its illustrious surroundings and indeed a good deal of it sank altogether. Formerly famous for setting the ship of Britart afloat how does this show succeed in opening our eyes to New German Art of the 2010’s? Well, frankly, not very well.

There are good individual artists in this show but after finding ones way around all the floors and finally being overwhelmed by the frankly awful huge works at the top I felt I had no more idea about contemporary German Art than I had when I arrived. The picture-book ‘catalogue’ does little to enlighten and whilst I not keen on over explication a little more info would have helped greatly. My impression was that bar a rough correlation of ages there was little to tie the artworks together and this had been manufactured quickly and with little curatorial thought. The one common factor was an almost complete lack of digital works. This was about big, bigger and huge…almost all the works were over six foot and in some cases were collossal. In that there were echoes of the far better German artists of the R.A. show e.g. Penck, Middendorf, Baselitz, etc. but there comparisons ended. I did not see one painter on a large scale that really showed exceptional technique or content. It was almost as if a T.V. reality show had asked a bunch of fairly average artists to create a pastiche of German Art of the last thirty years in a week.

Some works were truly awful e.g. the reclining plastic coloured figures and the afore-mentioned ‘print’ across a hundred canvasses. Others were good but lost in the hang apart from the Tobias Brothers and the small shellac and watercolour works of Volker Hueller both of which I was impressed by. I will not add insult to injury by naming the worst of a fairly mediocre bunch but winners of irritating and downright stupid awards go to Andre Butzer ( New York Graffitti school overdosed on Penck with a horrible use of colour) and Isa Genzken’s tedious assemblages like a car boot sale organized by Rauschenburg if he’d been a pantomime Dame…tinsel and spray paint darlinks is so camp …yuk. It is easier to actually spot the reference in most works. Maz Frisinger and Alexander Bircken wouldn’t have a practice without Duchamp’s large glass basically and Ida Ekbald looked like a foundation art project to use concrete that had gone horribly wrong. It seems that such is the plethora of art students coming out of the academies that even basic aesthetics have been jettisoned. Maybe she networks really well..maybe you have to living in Norway..so how come she in a German show..ah she lives in Berlin well that’s alright then…shame they didn’t chuck Tacita Dean in too at least we could have seen something interesting. By the way Tobias Brothers were born in Romania so is this really New Euro Art? Again the contextual strings were missing…if a Norwegian then is this really German Art now or just a motley collection hastily cobbled together..methinks the latter. This is reinforced by the seemingly haphazard way works melt into each other. If Saatchi can afford to build such a place why does he not employ some decent designers to fashion some continuity and catalogue support. If ‘democratising’ the artworld means flabby shows with little thought I may not be so ‘democratic’ in future. Free to enter you do get what you pay for. It seems Saatchi is keener on being seen as super-patron than actually doing the right thing by the art he assembles. But then he is bigger (as his building) than any poor artist caught in their combined wash.

The show is worth going to for the well hung Tobias Brothers room and for the Hueller small works both of which show grace and aesthetic consideration rather than the Pantomime Showiness of most of it. I came away with the impression that New German Art had fallen into a rut of pastiche of former glories and far from benefitting from new immigration the ‘Eurozone’ dizziness of it all had actually devalued some of the participants. If a single currency has devalued the economies of Western Europe then this show displays that Saatchi’s global reach and international obsessions are similarly dangerous to ‘national’ ideas of art. Post internet, post Berlin Wall what we see is a weak and diluted parade of imitators and hangers-on to concepts and working practices which were old hat in 1960. If you want to see post-war German art at its best go google Mülheimer Freiheit‘. This is just a pantomime of the new wilds and honestly it as tame a collection of physical art as I ever come across..one almost yawned on exit. Maybe Saatchi can blame his ‘art-teams’ for nothing on this scale is supervised that closely…..committee and buyers do the rounds hoovering up those who fit the bill.

Want to be in the next National Saatchi show…tick these boxes….International (i.e. not English) …large and technically inept  and finally be devoid of real artistic merit…then you may stand a chance.
I would like to see a ‘opt-out’ clause for British native art from this circus before we all become clowns dancing to the same ringmaster.

CODA: Is Serota’s Tate any different?..same egos just different paymasters…

 


Watercolour in Britain: Sheffield

A touring exhibition which started in Norwich and currently at Millenium Galleries Sheffield this Tate Gallery touring show comes with a specific tagline i.e. ‘Part of the Great British Arts Debate’.

Now,if you are not aware this Great British Art Debate commenced during the first wave of Arts Council ‘restructuring’about two years ago. This seems to be a spin off from that ‘debate’. At the time that debate really amounted to no more than carefully chosen individuals talking in a ‘closed shop’about how best to redeploy funding in face of cuts by the then New Labour Government.

Any attempt to genuinely ‘widen’debate and participation is to be welcomed. That the Tate should choose to wrap a watercolour exhibition in such terms says more about current arts politics than any real ‘debate’out in the Shires. This exhibition highlights the deep uncertainty and failure of contemporary art to address notions of both identity and place and technique properly. It raises more questions than answers but not in the way intended.

The exhibition contains a great deal of stunning work and no-one can complain about seeing (even if in very low light to preserve the fragile colours) a collection that shows Turner,Blake,Sutherland,Burra and Offili in the same space. The Millenium Galleries,to their credit,are showing both local war artists and local ‘amateur/professional’painters work alongside the ‘masters’. However all of this is constantly being drawn into the shaping argument that a leaflet posits thus:

“Watercolour paintings have become shorthand for a comforting,conservative world view,rooted in the English countryside and largely rejected by the contemporary art scene. It wasn’t always so”

This statement has no author. It is presented as essentially true when it is,of course,contestable. It is illustrated by Burra’s ‘Soldiers at Rye’which is in the exhibition (see illustration above). Again our anonymous author cannot help but shackle a political point to it –

“”..is no portrayal of a pastoral idyll”

before drawing a comparison to oil painting which is just plain silly.

The comments also include a statement that this exhibition illustrates a ‘remarkable diversity’and also asks ‘where next’.

This is,I presume,continued in the exhibition catalogue which I did not buy for the simple reason that the interesting local artists and the work illustrated did not reflect what shown in Sheffield. It appears that if one wants to see the David Jones and John Piper work shown in the Tate publication one has to travel to Tate Britain next year.

The exhibition addresses two fundamentals of the watercolour tradition ‘sense of place’and ‘technique’and tries to map them to a contemporary notion of ‘diversity’.

Watercolour paintings have become shorthand for a comforting,conservative world view,rooted in the English countryside

‘Shorthand’is an unsatisfactory term based on a shallow perception of the tradition. ‘Shorthand’suggests watercolour painting is somehow inferior to the ‘easel painting’tradition and involves an almost throwaway sense of gesture usually ‘en plain air’. Anyone with a slight knowledge of the painstaking care that went into a Cotman or Turner can already see there a problem of some mis-aligned value systems here.

Instead of starting with the ‘tradition’the commentator is explaining the tradition backwards with a rather ‘secondhand’shorthand of their own. The suggestion they make is that watercolour is merely an amateur’s playground and the contemporary refuge of the conservative artist only. This smacks of the contemporary arts graduate view of art history and technique based on little real comprehension of its true history or creation.

i.e. in short –Watercolour + Landscape = a moribund ‘white male’tradition.

This notion is so embedded that the whole last part of the exhibition is set up as a failed retort to this assumption which instead of making one applaud the ‘beyond’as ‘groundbreaking’simply reinforces that there has been a break in both technique and value system which leaves no ‘beyond’–simply a sense of closure of that particular tradition.

If the instructional videos and cases of ‘this is how you do it’sketches and paintings littered around the show inspire one person to try the technique that is fine. However the examples used were illustrative in the manner of the conservative tradition the exhibition is supposedly challenging. Instead of inspiring true engagement it suggests an administrative dumbing down,reflected again in the noble but ill advised attempt to show and sell local work at the exhibitions end. It would have been far better to have a decent contemporary artist showing the technique ‘live’and ‘signpost’people to good watercolour artists in the community or have their work for sale in the ubiquitous ‘shop’than hang a frankly weak bunch of works next to William Blake which is doing neither party much good in comparison.

Because the Millenium contains an excellent Ruskin museum (all be it small) there were a couple of Ruskins and a large scale although slightly mad Burne Jones (a similar problem to most of the Burras being evident where scale and surreal subject matter outweigh a lumpiness and lack of touch in the works). Watercolour is a light and spontaneous medium which gets bogged down into sticky gouache when over-worked. Having said that a single ‘constructed’Burra landscape retained that effervescance.

The exhibition makes a very good fist of showing (albeit in a fragmented manner –i.e. Offili then Burra then Turner then Ruskin then Blake) some classic work in the medium. Nobody could walk away from the Cotman and not feel that they have seen an illustration of the very finest technique. It is almost as if one is in a hall of greats onto which a slightly amateur exhibition has encroached.

Now before the ‘post-modernists’cry foul and contest any suggestion of a “hall of greats”or “artistic canon”let me be clear. I do not buy into the notion that certain works of greatness can be explained away by socio-marxist reductionisim or are part of a white male tradition that needs ‘re-examining’. The reason the predominant works in the exhibition are from white males is simple. Historically,the only people able to safely travel the countryside and have the independent means to do so thus creating the topographical tradition,were men and white men of independent means at that. There were as few farm labourer watercolourists (male or female) as there were poets because of a harsh bondage to land. Arguments about impediments to joining ‘tradition’whilst valid do not change the available corpus of work we are left to examine.

So if one removes the ‘diversity’framework and examines the work one finds a fairly consistent and challenging set of works created by white males over a two hundred year period. The historical ‘romanticisation’of the ‘wilderness’occurred in this time frame. When the anonymous PR person spouts about a ‘conservative’tradition it is one built on socio-economic changes and predominantly male for a reason. Far more interesting would have been a ‘debate’centred on notions of ‘sense of place’not ‘diversity’as both are loaded terms.

The ‘contemporary’works undermine that tradition by both their subject matter and their technique,or lack thereof,and in my opinion this should have been divided into two shows maybe run concurrently.

Nowhere in the contemporary works do we see a similar level of technique displayed except maybe in the Blackadder (an illustrative painter whose work influenced a swathe of eighties illustrators). Other contemporary artists range from the slightly cack-handed (Offili) to the downright awful..Kapoor and Paolozzi or Houshiary. Indeed worst of all was a very contemporary bunch of splodges on paper by a ‘conceptual’artist I didn’t even bother looking at. All used watercolour in varying ways,none successful,and none with an understanding of the technique itself. Rather we were in the post-modern’s favourite place i.e. “Irony Island”.

Were these works selected simply for their possible ‘diversity’tick-boxing? Paolozzi not Peter Blake,Kapoor (not noted as a painter per se?) instead of Michael Andrews? The whole show fell between two stools in trying to concoct a ‘diverse’and ‘contemporary’‘beyond’that didn’t exist and in so doing it competely ignored a far deeper and questioning use of the ‘watercolour tradition’that could have included Conrad Atkinson amongst others. That would have been a real debate. Instead we are left holding the bath whilst baby and bath-water both lost and the bath increasingly leaky as a container for ideas……

To that degree ‘Tradition and Beyond’did reflect the current lack of confidence at the heart of arts organisations trying to hit targets in all areas..footfall,diversity,engagement and failing to concentrate on the matter at hand…..a word no longer politically acceptable above all others.

QUALITY.

Quality is now so disparaged among academics and administrators that one is admonished for just mentioning the word. However all artists can be judged by that criteria if all could agree on a suitably diverse criteria to encompass works.

At present there is no such consensus and until there is we continue to drift through shows like this……like Turner strapped to the mast in a storm the water blurring our sense of vision….