The Empiricism of Michael Kidner: Dreams of the World Order

I have written before about two approaches to making an abstract painting. We could call one of them ‘dialogical’: the artist enters a conversation with the materials in a state of ‘not knowing’ or with only a vague idea of what s/he is going to paint. The process becomes one of responding to previous ‘moves’, most of the decisions about the work being made during its production. The other strategy is pre-planned, with decisions being made before any paint is applied to a support. If the first is in danger of becoming ‘automatic writing’ the second may suffer from being too predictable. Perhaps they correspond to what Michael Kidner referred to as “the gestural approach”, which to him seemed “foreign to Western tradition” and lacked the possibility to develop, as opposed to the “preconceived image” which he thought “seems contrived”. Instead of either he proposed an empiricism of “imagery through optics” stating that “whereas a painting conceived in two colours can fairly easily be predicated in the mind’s eye, the addition of a third colour makes this impossible. The work necessarily becomes empirical.”

At Michael Kidner, Dreams of the World Order – Early Paintings at Flowers Gallery until 20 October 2012, this empiricism is evidenced in the relationship between paintings shown in the downstairs galleries and between those paintings and the wonderful (preparatory?) works on paper that are shown upstairs.

The exhibition explores four of Kidner’s sub-themes: After Image, Stripe, Moirè and Wave, described in the catalogue as “progressive experiments with optical effects and rational procedures, inspired by his preoccupation with how space, pattern and form function” and explaining that “a year after Kidner’s death in 2009, a number of rolled up paintings were discovered in his Hampstead Hill Gardens studio. These have now been re-united with this iconic body of work”. Many of the works on view in this exhibition are being shown for the first time.

It is a real treat being able to see them together, and to discover that some of the works on paper are double-sided (thank you to the show’s curator Amie Conway for demonstrating this).

One of the paintings I am particularly impressed by today is Circle after Image, 1959-60. Seeing an after image presented simultaneously below the image is a strange contradiction, the equivalent of an oxymoron like “objectively subjective”, and caught in this contradiction I am made aware of the temporal dimension of viewing a painting, and of vision in general. The after image is there represented by the artist yet as I view it, after about 20 seconds, I cannot help but project my own after image of the upper half of the canvas into the lower half.

Circle after Image 1959-60, Oil on canvas, 151.5 x 124.5 cm / 59¾ x 49¼ in, AFG 42498, ©The Estate of Michael Kidner, courtesy Flowers Gallery, London

I feel sure that Slavoj Zizek had something different in mind when he said that the ethical duty of the modern artist is to confront us with “not objective reality but the objectively subjective” though it does seem to apply. It is almost as if there is a double constructivism at play here, the paintings themselves being situated within that tradition, that also produce a keen awareness in the viewer of the part s/he plays in constructing visual reality.

Seeing the smaller after image paintings on paper in the upstairs gallery gives an insight into Kidner’s empirical working method, yet I hesitate to label them ‘preparatory’ because they provide specific experiences that are similar but different to the larger painting, and highly interesting and enjoyable in their own right.

A painting for which I find no preparatory works, unless perhaps it should be grouped in the “towards moire” category is Raindrops, 1960, a wonderfully chaotic yet finely ordered painting.

Raindrops 1960, Oil on canvas, 97 x 122 cm / 38¼ x 48 in, AFG 42486, ©The Estate of Michael Kidner, courtesy Flowers Gallery, London

The clear circular motif seems to break down on prolonged viewing, and then as I notice the complementary coloured squares I realise that this too is based on after images, and indeed the ‘figures’ becoming unstable is in part due to my own after images that the painting provokes. There is also a small painting on paper entitled Moving Green from this same period that explores a similar theme. The after images do seem to pulsate and to move and there is also something ‘moving’ (in the emotional sense) about seeing them. I note my involuntary sigh that signals a change of state as I look at these beautiful paintings, yet my cognitive mind is an equal partner in the experience.

To my mind the work in this exhibition is proof, if proof were needed, that a rational, systematic (empirical rather than pre-conceived) approach to abstraction can result in works that are both emotionally charged and intellectually interesting. It could even be said that Kidner combines the opposing traditions of expressionism and constructivism. Although he criticised abstract expressionism for its “assault on the unconscious” there is something of Rothko’s feeling for colour in these paintings. Yet there is no mysticism or ‘spirituality’ here, even though there is Grace in the sense of the term that (following Aldous Huxley) systems thinker Gregory Bateson used of “integrating conscious and unconscious minds”.

(All images by courtesy of Flowers Gallery. My Zizek quote is taken from How to Read Lacan, chapter 4, my Bateson quote is taken from Steps to an Ecology of Mind, Part II and all my Kidner quotes are taken from the exhibition catalogue.)

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Mali Morris at Mostyn Gallery

When you plan your trip to see Mali Morris: Works on Canvas and Paper at Mostyn Gallery, Llandudno, even though it continues until 24 June 2012, and even though Mostyn Gallery is open 7 days a week, go sooner rather than later, because when you’ve been the once, you will probably want to visit a second or third time.

What is it about these works that rewards prolonged viewing and that later, when enjoying the memory of them, seems to draw me back for a repetition? And, on repeat viewing, I realise the impossibility of repetition: it is something different I am noticing in the work this time around.

If abstract painting, to quote Matthew Collings on Mali Morris, is about “constantly coming up with visual metaphors for experience”, and the artist’s job is to produce this metaphor-world “in the form of visual pleasure, or beauty”, that’s a great metaphor for what Mali Morris does. And visual pleasure begins even as I peer though the window, waiting for the gallery to open

and even more so when I get inside and confront, or am confronted by the large painting North & South, on loan from The Royal Academy.

Love at first sight (!) is my response to the startling beauty that seems to be “out there”, or the visual pleasure, that seems to be “in here”. Beauty seems connected to desire, and the goal of desire, according to Slavoj Zizek “is not to realize its goal, to find full satisfaction, but to reproduce itself as desire”. Seeing it, I want to see it some more, and looking more closely, what started out like an epiphany becomes more like a slow reveal. The brightness of the coloured discs immediately grabs my attention from a distance, and moving nearer, I get interested in their very specific characters, each one different as a result not only of the quality of the particular chosen colour but because of the way it is arrived at. And are they contained within shaped ‘fields’ or do they sit on top of flat planes? Or maybe they inhabit different spaces, some receding further back than others, or then again, perhaps they hover above twisting and bending spaces. Seeing the painting from a different angle the space certainly appears to bend, but not in an “op art” way, it is slower and gentler than that. The colour creates space, and doesn’t perceiving this colour at least hint at a suspension of the natural cycle of desire, a kind of “bliss” according to Roland Barthes?

I missed the artist’s talk at the exhibition opening, the day before my visit, but a member of the gallery staff was kind enough to relate some of what had been said, recalling that partly it had been about the influence of other painters both modern and pre-modern, and remembering a comment about the relationship of the size of the works to the body, not just the artist’s hand or wrist but indeed the whole arm, and in the larger works the whole body.

Looking at the paintings, whilst the circular forms, even in the works that seem to hold just one such form, never become ‘faces’ or ‘heads’, they do engage me in a kind of conversation and I wonder if that’s what the first painting in this show brings to mind, or rather to heart, in its title: Reply.

I can imagine the two circles replying, or being a reply to one another, or the two circles in conversation with the blue-ish over-painted “ground”. Or is the painting itself a reply to previous paintings, (working as Morris does in series tends to create an ongoing conversation of art works)? I can also imagine the whole exhibition as a reply to a previous one, almost as if this first painting, on a wall of its own, announces that the show is the artists reply, situated within a previously established dialogue. And doesn’t an artist also enter into a kind of debate with the painting itself, so that the work could even be a reply to the artist as if it had a life of its own? It could equally be that the artist is engaging me in a discussion, replying to my statement or question about art or about life. The painting greets me, draws me into a conversation, but one that has already commenced some time ago, a bit like when I meet up with my twin brother and we just “carry on from where we left off” even though we haven’t seen each other for months. Even so, it is a conversation beyond or before language, where again it is colour that seems to temporarily suspend the necessity of language and thought-as-language (internal dialogue).

There are 18 paintings on canvas in the downstairs gallery, mostly small in size, yet each one ‘big’ enough to get a good ‘conversation’ going between painting and viewer. The way they are arranged also means they get ‘conversations’ going between themselves.

In the upstairs gallery there are 18, mostly smaller, paintings on paper including the very recent series the Mostyn Suites, which remind me of jewels, approaching tiny at 10 x 15 cm, in amazingly luminous colour (my photos don’t do them justice have a look at the picture on the Mostyn web site).

In David Batchelor‘s book Chromophobia he observes that in literature colour often gets “caught in the spell of gems and precious stones” and that “gems often stand in for colour-in-general. They represent the point at which colour becomes independent and assertive…” Whether in Aldous Huxley’s visions of Heaven: “always a place of gems” or Dorothy’s Oz, “colour – intense, heightened, pure, unqualified offer(s) a glimpse of the ‘Other World’, a world beyond Nature and the Law”. In Mali Morris’s little works on paper, gem-like in their luminosity, colour seems to become independent and brilliantly assertive. The modernist abstract tradition where the words “big” and “abstract” belong together has clear resonance with Morris’s work, yet in these little paintings she almost turns the theory of colour-field abstraction on its head.

If you want live music you have to live it

“If you want live music you have to live it” said dance band leader Dennis Halfpenny at the closing dance of 2011 by The Terry Peters Big Band at the Regency ballroom, Sutton in Ashfield on Saturday night.

Live music is wonderful and dancing to a live band is surely the best way to live it.

There is something always old, repetitive, and at the same time, always new, each repetition a beginning, in dancing that seems equivalent to what’s hapening with the music, and I wonder if the musicians feel the same way. This rendition of “Don’t Sit Under the Apple Tree (With Anyone Else but Me)” will be similar but never identical to the last one or the one to come, and likewise the jive we danced to it. This “Veleta” will be like the previous and subsequent one, without ever precisely repeating.

For me, it is this repeating whilst simultaneosuly starting anew that living live music is all about. I think this is one of the reasons why I am so fond of the old-time dances like the Veleta, and why I hope that it will continue to be danced to live music for many years to come. There is something magical about following the tradition of dancing this to its own signature tune, the continued playing of it keeping it alive.

Does all this not connect to desire and drive? In Slavoj Zizek’s The Parallax View, he says

We become “humans” when we get caught into a closed, self propelling loop of repeating the same gesture and finding satisfaction in it

It’s not old-time waltz turns, or repeat pattern abstract painting that he is referring to, but it could so easily be.

Band photo by courtesy of M&N Photography

Zizek’s “Living in the End Times”, recent violence and art

In the final section of Zizek’s book “Living in the End Times”, (see previous blog post), having surveyed the responses to the anticipated end of global capitalism, under the headings: 1) Denial, 2) Anger, 3) Bargaining and 4) Depression he comes to the fifth: Acceptance.

Acceptance:part of mind map on Slavoj Zizek's book "Living in the End Times"

He cites Badiou’s argument that we live in a social space which is progressively experienced as “worldless”, and suggests that ‘within such a space “meaningless” violence is the only form protest can take’. He is referring to the burning of cars in Paris in 2005, and it seems to me that he could equally be referring now to what has been taking place on UK city streets in the last few days. He goes on to argue that

This is why the famous Porto Alegre motto “Another world is possible!” is too simplistic; it fails to register that right now we already live less and less within what can be called a world, so that the task is no longer just to replace the old one with a new one, but …what? The first indications are given in art.

He seems to update the notion that art (may) help us to envision possible new worlds, to one where art (potentially) indicates the task at hand. From my reading of the chapter (a brilliant discussion of Kafka, Platonov, Sturgeon, Vertov and Satie), this indicating is itself extremely indirect, along the lines I mentioned in my previous blog where in film sometimes the plot is prefigured metaphorically during the opening titles.

(Since writing this post I noticed that someone else also quoted Zizek in relation to the recent riots  at this excellent blog: http://cengizerdem.wordpress.com/2011/08/19/slavoj-zizek-shoplifters-of-the-world-unite/)

Slavoj Zizek, “Living in the End Times”

Slavoj Zizek’s book “Living in the End Times” reminds me of a film, where the plot is pre-figured metaphorically in the opening titles. Everything in the book is prefigured in the introduction. Then, on second and third reading I notice that the book is a system, each part connected to others in a non-linear way. And it is wonderful, and difficult to put down (in many senses of the term) even though it certainly isn’t an easy reader, not in my book anyway.

It’s main thesis is that Global Capitalism is coming to an end and the responses to this “news of difference” can be categorised according to Kubler-Ross’s  grief curve:  denial, anger, bargaining, depression and acceptance. These five stages become Zizek’s structure for the book.

I love his reading of Ephesians 6:12 translating “For our struggle is not against flesh and blood but against leaders, against authorities, against the world rulers of this darkness, against the spiritual wickedness in the heavens” into today’s language as “Our struggle is not against actual corrupt individuals, but against those in power in general, against their authority, against the global order and the ideological mystification which sustains it”

(Another recent post about Zizek’s book can be found here)

David Harvey on the Communist Hypothesis today

Interesting article at Rheomode: David Harvey on the Communist Hypothesis today suggesting that contemporary attempts to revive the communist hypothesis favour horizontally networked as opposed to hierarchically commanded systems, and that this represents a convergence of Marxist and anarchist traditions harking back to the collaborative situation between them in the 1860s.

Slavoj Zizek concludes his book First as Tragedy,then as Farce with a chapter entitled The Communist Hypothesis, in which he argues that the revolutionary process is about repeating the beginning again and again, and that, rejecting any sense of continuity with what the Left meant over the last two centuries, everything should be re-thought, beginning from the beginning that Badiou calls “the communist hypothesis”.

Two Picasso Shows

I read two blogs recently about Picasso exhibitions and the system conditions in which the paintings were being viewed. Forest Knolls, blog is about a show at the de Young Museum in San Francisco. I was interested in the comment about making do with a photo of the exhibition poster because photography inside the gallery was prohibited, hence the picture of the giant poster of the small painting (an image of an image of an image).

My own photo above, a few years old, shows people looking at (and photographing?) a Picasso painting of a girl looking at her own image in a mirror (an image of an image of an image). This was at the Picasso Museum in Paris. I believe that cameras were allowed. (On the subject of photography in gallery spaces there’s a brilliant blog here by Rhetoricalpens)

The other blog, at The Painting Space is about the first time a Picasso has ever been shown in Palestine. Buste de Femme, 1943, is at the International Academy of Art. Two years in the making, this exhibition is an “exciting opportunity to build a new international cultural dialogue in the occupied territory of Ramallah”. The conditions in which the painting will be viewed are very different to the two examples above. As well as the big system condition of occupation, there is also the sub-system that only three people at a time will be able to see the painting, in a purpose-built viewing room, so the picture does not get damaged by the humidity.

The blog includes a short film of Slavoj Zizek in conversation with the organisers. He has some really interesting things to say and he tells some great stories. I am not always sure I can connect them to the subject of the exhibition (one of the many things I love about his work).

‘Shooting Zizek’ Short Film Competition (via writewhatyoudontknow)

I’m no film-maker but I am so tempted to do this one
they only want one minute
maybe I could achieve something even with my digital camera that has a video setting?

Verso Books just announced a challenging short film competition: Shooting Žižek short film competition Radical philosopher Slavoj Žižek has made his mark on how we view and interpret film through his writings as well as through his documentary, The Pervert’s Guide to Cinema. Now Verso Books and The Church of London are sponsoring a competition to produce a short film on Žižek’s theory of the end times. The winning entry will be chosen by Žižek hi … Read More

via writewhatyoudontknow

Ikon Gallery (via The Cultural Bible Blog)

I noticed someone else blogging about Ikon Gallery and it reminded me of the John Salt show

The Ikon is small but the exhibits it homes are something different, and it was definetly a huge contrast from the Birmingham Museum and Art Gallery. Although we weren’t welcomed on arrival we were greeted by a girl in the Robert Orchardson exhibit “Endless façade”. This was an odd exhibit – very contemporary, but quite exciting to see. The way the space was utilised was interesting and was worth seeing. The other exhibition that was on was by Ma … Read More

via The Cultural Bible Blog

I visited wanting to see abstract art yet knowing I would be seeing photrealist paintings of cars, so I really wasn’t expecting to like what I saw. In an earlier blog I commented on this painting.

Tree 2001, Casin on linen, 109 x 166 cm, Tellenbach Collection, Switzerland, Image courtesy of Ikon gallery

There are 18 paintings on view, shown more or less in chronological order, the first room with earlier work, paintings with images taken from catalogues, close-up cars, monochromes in red like Bride 1969, or grey like Sports Wagon 1969, the open door or window creating a frame through which to view the interior, and then the car wrecks of the early 70s: Falcon (Patchwork Surface) 1971, Desert Wreck, 1972; Pontiac with Tree Trunk, 1973. The second room has the more recent works, from the eighties to the present day, vehicles now more abandoned than wrecked, and shown in landscapes, usually a car or caravan, in its immediate surroundings.

At first I was frustrated at being unable to find much evidence of paint being worked or the artist’s touch. I thought I had found actual brush-strokes in Falcon (Patchwork Surface). Did I have the impression here that the artist actually enjoyed painting the surface? Then, I realised that the the surface being worked was the car body, with spray-painted graffiti. Those painted gestures looked like they had been enjoyed! And then photographed and then painted, or rather airbrushed. I attempted to inspect the canvas edges for evidence of painterliness, only to be thwarted by the aluminium frames, tight to the stretcher.

Then, once I  had resolved to stop messing about looking far what wasn’t there and to enjoy the work for what it was, the first thing I noticed was the calm. Galleries are not noisy places, but these works seemed to elicit a quietness that was more than gallery quiet alone. I think it was my emotional state, rather than the physical environment. The paintings are still, still lives in a way, yet they are also memento mori, or as Dieter Roelstraete says in the gallery booklet “that type of still life that is much more eloquently rendered as nature morte“. The Car not as status symbol,shiny and triumphant, but as wrecked, decaying, lonely or abandoned.

Although, according to the booklet, Salt claims not to be offering any social comment I agree with Roelstraete that it is difficult not to find here a comment on capitalism and its future. What I don’t find is anything about imagined alternatives. I think I read somewhere in Zizek the criticism that we find it easier to imagine the destruction of the planet than we do to imagine a future alternative to global capitalism.

(John Salt, curated by Jonathan Watkins and Diana Stevenson, is showing at Ikon Gallery, Birmingham, UK, until 17 July 2011)