Tate St.Ives April 2017
Our Tate reopened with a huge number of people attending the occasion. As usual there was more excitement in the roar of the crowd and opportunity for brief conversations with friends and acquaintances than in the art, many people promising to return for a better considered look another day. The bar serves a very delicious white wine.
I was a bit worried about the salamander in a tank alongside a huge ceramic dog's head. Others were afterwards anxious and obtained information designed to reassure that Aaron Angell, the artist the axolotl belongs to, was ensuring it was cared for but some thought it is unacceptable to subject live creatures to being art exhibits. I returned to try to work out why it was part of the show and it seems to be just a whimsical notion, rather than a trip to Rio. Other artists have made other ceramic tank furniture that may be exchanged with the dog's head and these are on show nearby. Children were taking a great interest in the axolotl while I was there and one of the attendants clearly knew a lot about its care. I couldn't help thinking since these animal inclusions are always controversial that it might be a bid for fame. I walked round everything again and had to admit it was the most interesting item, but I still wanted to make a ripost to it, which I will exhibit at the Crypt in the Taking Space show from April 29 toMay 5th, perhaps my own attempt to gain notoriety without any living beings being used.
|Leach roof tile|
This pottery is an absolute contrast with the ceramics from California and London, which are said to be art not craft, being non functional and more thrown together. These are shown rather en masse with a lack of different height stands and with the names and titles on separate borrowable large laminated sheets like they have in museums . The effect of these two sections was like a school ceramics show I had seen in Kalamata in Greece, excellent and interesting to find there but to see similar stuff in Tate St.Ives was baffling and made me see how brilliant Grayson Perry's work is in comparison. The display is of many random objects by many different people and has no coherence.
|Malcolm McClain 'Chamber of spheres'|
|Tom Salt 'Mushroom Cloud'|
Jessica Warboys has been throwing paint on canvas into the sea to make large attractive marks, hung ceiling to floor in the curved gallery. This is described rather ridiculously as collaborating with the sea. She has other objects and three films. I watched two and they were largely handheld wobbly images of places in Wales and Cornwall. Sometimes a red square construction appeared wedged into space between two stones of an ancient quoit. It was the sort of thing my MA tutors would have torn to shreds as woolly unfocused rambling. Of all the artists in all the world why has Jessica Warboys come into my local Tate?
In the roofed in clay play area two nicely dressed children were rejecting the opportunity to play with clay, to the distress of their Dad. I felt a bit like them, invited to enjoy two shows and all I could do was feel concerned about a salamander, ungrateful and bolshy.