Image and Idol: Medieval Sculpture
Tate Britain, to 3 March 2002
The most influential event in English art was not the establishment of the Arts Council of Great Britain, or of Tate Modern (as some would think) nor even the 18th century Enlightenment, or the Renaissance which preceded it. Nor even the Blitz. (Getting warmer, however). No, it was in fact the English Reformation that drove out the Roman Catholic church and the architectural sculpture, shrines, and muniments that went with it. The event was almost wholly negative, as far as the visual arts were concerned (although choral music was somehow salvaged under various pretexts).
This devastating period had religious fundamentalists running round tearing down church monuments and religious shrines, sculptures, paintings, as part of an all-round cleansing and flushing of the English soul. As a result, fewer such artefacts remain in England than in any other comparable European country. At Tate Britain, which recognises the Reformation as the starting point of its chronological brief, an ambitious attempt has been mounted to link the fragments which do survive, to the contemporary visual sensibility. The sculptor Richard Deacon (a former Turner prize winner) has been given the task of establishing a mise-en-scene which fosters such enlightening comparisons of old with new. This is an interesting intellectual venture, but less than successful where it is obliged to address, rather than ignore, the symbolism which persists and which so infuriated the mediaeval ‘reformers’.
Whatever the effect, in the two main Duveen galleries allocated to the exhibition the highlights need little preliminary of this kind. The surviving pieces of a recognisable ‘Virgin and Child’ from Winchester Cathedral are so redolent of human warmth and compassion as to stand alone: they are well distanced in mood from the Eton College figure of St.George, which stands suspended in arrogance, so disdainful as to put off any would be desecrator (one of us, was probably the reaction).
The real message of this exhibition, apart from the enthralling beauty of the exhibits and their pathos, is surely a call for the Reformation event to be properly incorporated in Tate Britain’s permanent exhibition agenda. For example, understanding that lost holocaust helps even in our understanding of such English artists (recently covered by retrospective there) as Stanley Spencer, or indeed Michael Andrews. What indeed was the Reformation? Well, ‘not quite nice’, but not to be hidden away as has been the tendency in English history as taught at schools: don’t bring back the memories of horror.
Eadweard Muybridge: Shaping and Shifting Our Point of View
Eadweard Muybridge’s photographic practice is so familiar to us; it is easy to forget he began his pioneering work over 100 years ago. Muybridge was working on animal locomotion before Picasso was born, and the painter and sculptor Edgar Degas (amongst other artists of that time) used Muybridge’s photographs to understand how to image bodies in motion
Rewinding personalities: Van Dyck at Tate Britain
The short journey from the British Museum down to Tate Britain is currently a rewarding trip. The British Museum gives us, with the exhibition dedicated to Shah Abbas, the early 17th century unifier of Iran, a clear comparison as to how a portraitist can contextualise his sitter.
Bridget Riley at Tate Britain
Tate Britain's important exhibition of Bridget Riley's painting ends later this month. This is a full retrospective, which was not possible at the recent exhibitions of her work at the Serpentine Gallery in London and the Dia Center for the Arts in New York.
Chris Ofili at Tate Britain
Chris Ofili’s mid-career retrospective at Tate Britain is a crowd pleaser, and this is no bad thing. What comes across most strongly in the exhibition is Ofili’s tactile approach to painting and his joy of colour, leading to the exciting realisation that his painting still has the power to enthral.