Until 26th May 2024, Unravel: The Power and Politics of Textiles in Artshines a light on artists from the 1960s to today who have explored the transformative and subversive potential of textiles, harnessing the medium to ask charged questions about power: who holds it, and how can it be challenged and reclaimed? Spanning intimate hand-crafted pieces to large-scale sculptural installations, this major exhibition brings together over 100 artworks by 50 international practitioners. Drawn to the tactile processes of stitching, weaving, braiding, beading and knotting, these artists have embraced fibre and thread to tell stories that challenge power structures, transgress boundaries and reimagine the world around them.
This review summed it up nicely for me -‘hybrid, heterodox, filled with strangeness and anger and beauty and horror, Unravel at the Barbican is often gorgeously excessive, at other moments quiet and private, not giving up its secrets until you linger’.
An extraordinary experience – not at all what I expected and highly recommended. I really wanted to ignore the ‘Do Not Touch’ signs!
Here are some of the images I took when I visited last Saturday.
Views from the upstairs gallery …
Yinka Shonibare’s figurative sculpture Boy On A Globe uses his signature Dutch Wax fabrics to address race, class and the legacy of imperialism by reflecting on colonial trade and the entangled economic histories embedded within fabrics …
Hannah Ryggen’s Blut im Gras (Blood in the grass), 1966, protests against the US war in Vietnam. The then-US president Lyndon B. Johnson is depicted here nonchalantly wearing a cowboy hat …
Arch of Hysteria by Louise Bourgeois uses a textile doll or model to convey a psychic experience of pain …
Myrlande Constant’s tapestries are drawn from Haitian Vodou traditions, her father was a Vodou priest …
Tau Lewis uses recycled fabrics and seashells in The Coral Reef Preservation Society, partly in homage to enslaved people who lost their lives in the Middle Passage, a stage of the Atlantic slave trade …
These larger-than-life, deity-like macramé sculptures by Mrinalini Mukherjee surge up from the ground as though organic beings. Drawing on nature and myriad artistic references, their knotted, rippling forms confound expectations of textiles as two-dimensional …
Sarah Zapata’s work embraces her identity as a Peruvian American – two cultures in which textiles are integral …
Solange Pessoa’s work, Hammock, was created in response to the land of Minas Gerais, Brazil, where she grew up. Textiles, in the form of rags and canvas, act as a carrier for living and decaying matter …
Tracey Emin is here too with a hard hitting work, No chance – WHAT A YEAR, about being raped when she was a thirteen-year-old girl (Content trigger warning) …
I don’t know why it has taken me so long to visit this extraordinary building but the wait was certainly worth it. And entry is free!
You know you’re in for a treat when, at the entrance, you encounter these charming cherubs chatting to one another over a late 19th century telephone …
The way in …
Two Temple Place is ‘a dazzling neo-Gothic gem’ on Victoria Embankment …
Then the richest man in the world, William Waldorf Astor emigrated to England from America in 1891 and he spared no expense when work began on Two Temple Place in 1892. It was designed by one of the foremost neo-Gothic architects of the late nineteenth-century, John Loughborough Pearson, and served as an impregnable bolthole with the eccentric Astor’s private apartment and bedroom upstairs. Its main purpose, however, was to accomodate the people managing Astor’s vast estate.
The man himself …
If you love stained glass as much as I do this must be on your list to visit. Here are just a few of the many images I took as I walked around. I haven’t included captions since the ones at the venue are so detailed this blog would be far too long. So I hope these pictures are good enough to encourage you to visit in person …
At the bottom of the stunning staircase you encounter D’Artagnan …
And further up, Athos …
More breathtaking glass awaits you upstairs …
In the foreground is a modern piece from a special exhibition that is also resident at Temple Place for the time being …
Entitled ‘The Glass Heart’, the guide tells us that ‘this bold new exploration of glass in the UK brings together for the very first time rarely seen works from key UK collections, celebrating this remarkable material – unforgiving, fragile, strong, sustainable. The Glass Heart will make you think again about glass as we explore how it has illuminated and contained human narratives and ideas’.
Here are a few images from this exciting and unusual exhibition …
Well written and beautifully illustrated, at £10 the guide book is fantastic value for money and a great memento of your visit …
Two Temple Place is a truly magnificent one-off. Make sure you check on the website for opening times before you visit since these can vary : https://twotempleplace.org/
If glass is your passion, don’t forget you can watch the creative process in action at the London Glassblowing Gallery …
The items for sale there may change forever your perception of what glass can do and the way it can influence the way we see the world – a fantastic place to visit …
There are glass hearts like these in the Temple Place exhibition. If you visit see if you can spot them …
Regular readers will know that I love the Guildhall Art Gallery! It describes itself as one of the City’s best kept secrets and that certainly seems to be true since when I visit I often feel like I almost have the place to myself.
This week I popped in to see what was on display with particular reference to London. My usual favourites were there along with some interesting new additions.
Among the new arrivals was this painting by Doreen Fletcher (b.1952) 0f the Carlyle Hotel, Bayswater, around 1981 …
I think her paintings are fabulous and I am the proud owner of a signed copy of a book about her work published by The Gentle Author. I also own two of her prints, Still Standing – Commercial Road …
And Hot Dog Stand, Mile End …
You can read more about her here and here. The book I own is now out of print but you may be lucky and find a copy on eBay.
Another new arrival at the Gallery is this work by Grete Marks (1899-1990) entitled London Wharves (1972) …
I really like the textures of the material she has incorporated …
Margarete or Grete Marks was born in Cologne, Germany, where she studied at the School of Arts and later at Dusseldorf Academy before entering the Bauhaus School of Arts in Weimar in November 1920. At this time the Bauhaus was in its first incarnation under Walter Gropius and enjoyed enormous influence over the fine and decorative arts throughout Europe.
A painting by Sharon Beavan (b.1956) entitled View from Rotherfield Street to the Barbican (1989) …
I really get a sense of the higgledy piggledy that is London. You can read more about Sharon here.
Another newcomer I like is this oil on canvas Camberwell Flats by Night (1983) by David Hepher (b.1935) …
Hepher first started painting South East London’s high-rise architecture in the 1970s, inspired by the scale and impact of the tower blocks on the London skyline. Camberwell Flats by Night reflects Hepher’s sustained focus on residential architecture, and the details of ordinary, everyday life. He refers to his architecturally-themed works as landscape paintings, equating the powerful effects of the built environment on human experience to those of the natural world. He has said, “I think of myself as a landscape painter; I live in the city, so I paint the urban landscape.”
The Gallery acquired the painting in 2022 and it required some conservation. You can read about what that entailed here.
I looked up a few old favourites as well.
Two examples of City pomp and ceremony.
First, The Ceremony of Administering the Mayoralty Oath to Nathaniel Newnham, 8 November 1782. Nathaniel Newnham (before a sugar-baker and a founder of the private bank of Newnham) became Lord Mayor in 1782 and is seen here in his black and gold state robe being admitted in Guildhall on November 8 in the Silent Ceremony …
He faces William Bishop, the Common Cryer, who holds the book from which he reads his Oath with William Rix, the Town Clerk; behind stands Heron Powney, the Sword Bearer with the upraised Sword of State and beside him is William Montague, the Clerk of the Chamber of London …
The two small boys at the bottom right are nephews of the Lord Mayor …
The other is one of my favourites, William Logsdail’s painting entitled The Ninth of November 1888 …
Although it’s the Lord Mayor’s procession in this picture he is nowhere to be seen and the artist has concentrated on the liveried beadles (who he actually painted in his studio)…
… and the people in the crowd …
There is a minstrel in blackface with his banjo and next to him a little boy is nicking an orange from the old lady’s basket. On the right of the picture the man in the brown hat, next to the soldier with the very pale face, is Logsdail’s friend the painter Sir James Whitehead.
Naughty boy!
It’s a sobering thought that, not far away in the East End that afternoon, police were discovering the body of Mary Kelly, believed to be the last of Jack the Ripper’s victims.
A view of Blackfriars Bridge and the City from Lambeth about 1762 by William Marlow (1740-1813) who was, as can be seen, very influenced by Canaletto. The City’s wharves are viewed through the Portland Stone elliptical arches while St Paul’s stands out in the background. At the north end are the buildings of New Bridge Street and the spire of St Martin Ludgate. In the centre of the picture, a wherry conveys passengers and their belongings downriver …
The demolition of old London Bridge increased the flow of the river under Blackfriars Bridge, weakening it. It therefore had to be replaced with the current iron and granite bridge built between 1860 and 1869.
The Thames and Southwark Bridge in 1884 by John Atkinson Grimshaw (1836-1893) are represented here on a quiet night under the moonlight. St. Paul’s prominent dome is seen on the right side, along with the spires of St Augustine, St Mary-le-Bow and St Antholin. A few vessels are in the dark on the left. The river and the sky are open pathways for the flood of light …
John Atkinson Grimshaw began working as a railway clerk for Great Northern Railway and had no formal training. Despite parental opposition, he took up painting at the age of twenty-five. In the 1880s, he began to paint London views, concentrating on moonlight subjects. From 1885 to 1887 Grimshaw had a studio at Trafalgar Studios, Manresa Road, Chelsea and knew Whistler well. It is said that Whistler confessed he had regarded himself as the inventor of nocturnes until he saw Atkinson Grimshaw’s ‘moonlights’.
The Monument from Gracechurch Street after Canaletto (artist unknown). We are looking towards Fish Street Hill and old London Bridge, with the Church of St. Magnus the Martyr in the background. Many reproductions were made after Giovanni Antonio Canal, who was colloquially known as Canaletto. These were in high demand after various British nobles and even King George III started collecting them …
This painting shows the wide thoroughfares of eighteenth century London and the bustle of the city. The Monument, designed by Dr Robert Hooke and the architect Christopher Wren, was erected between 1671 and 1677 to commemorate the fire and the rebuilding of the City.
Finally, if you visit the Gallery now you will see a notice about the Lord Mayor’s Big Curry Lunch …
and the nearby garden …
It’s really nice to see some green space in the Guildhall courtyard …
And art by the children of serving families …
As the notice says, the painted dolls at the front of the garden represent unity and love for children everywhere who are suffering in times of conflict …
Oh, and by the way, one of Gallery’s most popular paintings is back on display after being featured in Tate Britain’s ‘The Rossettis’ exhibitions in London and the Delaware Art Museum. Described by the Pre-Raphaelite artist and poet Dante Gabriel Rossetti as “my very best picture”, ‘La Ghirlandata’ was acquired by the City of London Corporation in 1927 for its permanent art collection and is displayed in the gallery’s main Victorian exhibition space …
The 1873 oil on canvas depicts ‘the garlanded woman’ playing an arpanetta and looking directly at the viewer. The artist’s muse for the central figure was the actor and model, Alexa Wilding, with two ‘angels’ in the top corners posed by William and Jane Morris’ youngest daughter, May Morris.
