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I went to two exhibitions in London yesterday, both worth a look.
But note once more the curse of the modern cultural world - something that's easy to do if you know how, but nearly impossible if not. Arriving at the V&A there were signs to tickets and the exhibition in question. I don't mind paying - that way I get some use out of my Art Fund card. But why hide the place you have to pay so far from where the exhibition itself is? You can employ someone to sell audio guides outside the exhibition, but not tickets? And, yes, okay, the ticket hall was signed, but in a list of items on a sign I walked past and didn't notice. And I notice things (Like Moomin mugs in shop windows).
And this is a chuffing design museum.
Firstly Cold War Modern: Design 1945-1970, which began with the use of design and architecture to first the Cold War, and prove capitalism or Soviet communism better, which much contributions from Berlin and Poland. The various proposed monuments were interesting ideological weapons. Part of what we have here is the dimension of the future, and whilst in the Routledge Companion we will have chapters on world's fairs and design for the screen, I think we could have had a chapter on architecture and urban planning. At one point, as a room contained scenes from The Ipcress File and Dr Strangelove I thought of the sfnal - and lo and behold, the next room had 2001 and Solaris and the fascinating designs of Archigram for future housing and modular, floating or walking cities. I'll write more when I've read the catalogue, but go see.
Secondly I saw Francis Bacon at Tate Britain - well the signage from Pimlico is better than it was, but I always turn right down Ponsonby Place rather than Atterbury St (it's a sign, I tell you). With the side entrance for tickets, this is the way in du jour. Again, more on digesting the catalogue, but fascinating to see the repated motifs cross pollinating - the Velaquez painting (why no reproduction to see the influence?), the faces of lovers, all the portraits really being the same portrait, the obsession with mouths, the triptych that eacho Muybridge's action photos but are in fact distinct scenes. I'm not quite sure how come those in the crucifixion room are such - but these appear to be figures at the foot of the cross, not the cross itself. Interesting to see the kipple from his studio - the painted magazine clippings from one who claimed spontaneity in his works.
It's a long way away, but I note Horace Walpole and Strawberry Hill
But note once more the curse of the modern cultural world - something that's easy to do if you know how, but nearly impossible if not. Arriving at the V&A there were signs to tickets and the exhibition in question. I don't mind paying - that way I get some use out of my Art Fund card. But why hide the place you have to pay so far from where the exhibition itself is? You can employ someone to sell audio guides outside the exhibition, but not tickets? And, yes, okay, the ticket hall was signed, but in a list of items on a sign I walked past and didn't notice. And I notice things (Like Moomin mugs in shop windows).
And this is a chuffing design museum.
Firstly Cold War Modern: Design 1945-1970, which began with the use of design and architecture to first the Cold War, and prove capitalism or Soviet communism better, which much contributions from Berlin and Poland. The various proposed monuments were interesting ideological weapons. Part of what we have here is the dimension of the future, and whilst in the Routledge Companion we will have chapters on world's fairs and design for the screen, I think we could have had a chapter on architecture and urban planning. At one point, as a room contained scenes from The Ipcress File and Dr Strangelove I thought of the sfnal - and lo and behold, the next room had 2001 and Solaris and the fascinating designs of Archigram for future housing and modular, floating or walking cities. I'll write more when I've read the catalogue, but go see.
Secondly I saw Francis Bacon at Tate Britain - well the signage from Pimlico is better than it was, but I always turn right down Ponsonby Place rather than Atterbury St (it's a sign, I tell you). With the side entrance for tickets, this is the way in du jour. Again, more on digesting the catalogue, but fascinating to see the repated motifs cross pollinating - the Velaquez painting (why no reproduction to see the influence?), the faces of lovers, all the portraits really being the same portrait, the obsession with mouths, the triptych that eacho Muybridge's action photos but are in fact distinct scenes. I'm not quite sure how come those in the crucifixion room are such - but these appear to be figures at the foot of the cross, not the cross itself. Interesting to see the kipple from his studio - the painted magazine clippings from one who claimed spontaneity in his works.
It's a long way away, but I note Horace Walpole and Strawberry Hill
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