Liverpool Biennial:

Maquette of a Monument Symbolising the Liberation of the Spirit 1952 by Antoine Pevsner 1884-1962We attended the 8th Liverpool Biennial: or rather we checked out two of the galleries that were included in the exhibition; the Tate and the Bluecoat. We rather ran out of time. Although we did manage to check of the James Moores Painting prize exhibition and the Bloomberg New Contemporaries 2014 as well.

The “A Needle walks into a Haystack” exhibition was spread out over five galleries with 4 other partner exhibitions, all dotted around Liverpool. There was an artist James McNeill Whistler in the Bluecoat Gallery, His work was mainly watercolours, although there was fantastically huge board wall painted with blue and gold peacocks surrounded by china in various shapes and designs. Although the exhibit was dark and a little dreary to look through, the work was awesome. I more than wish that Whister was alive to control the surrounding s of the gallery like he had when he made exhibitions for his work; colour coding the walls and drapes and the staff’s uniforms, making and designing the furniture and hanging up his images on a line across the room. It would have been far more suitable.

The Bloomberg New Contempories was a nice enough gallery, although we did not get time enough to go around much of it.Curtain 1980 by Philip Guston 1913-1980

OLYMPUS DIGITAL CAMERAThe James Moores painting prize was interesting although rather pompous; the first prize winner had a strange image, particularly in comparison to all the others. Juliette Losq was a favourite of mine; with an image made from ink and watercolours of the side of what appears an abandoned building; the trees and bushes are especially gorgeous. Although I did appreciate Frank Pudney’s work; making patterns, and whirls much like a hurricane from people silhouettes in various shapes and tones; although all tiny. http://www.frankpudney.com/about.html

The Tate was, as usual, the best; a huge house of three floors of incredible drawings, paintings, sculptures and glorious spaces and exhibit showcasing. The main article being a Claude Parent who believed that by altering the space and the circumstances that you viewed the exhibit changed the experience and therefore your understanding of it. The work was contemporary work at its finest although I do believe that his layoutThe Painter's Family 1926 by Giorgio de Chirico 1888-1978s designs were much more exciting.

It was a theme that carried around; some works were displayed on glass frames and placed in the middle of the room on bars connecting the ceiling and the floor; you could see the back of the frame that held those priceless images by long dead and new found artists, they were very interesting to look and decipher some staff members handwriting explain what it was and where it should as it accompanied the warning signs of FRAGILE and THIS WAY UP.

Although I do now have a few new favourites; Stuart Brisley “ZL636595c”; Dorothea Tanning “pincushion to serve as Fetish” ; and Giorgio de Chrico “The painter’s family”. Why I like them, I’m not sure. Although I am finding a pattern in trying to understand the sense of self and how it exists separately in different terms to all, yet we still group ourselves; family, friends, flatmates, work mates, classmates, foreigners, teachers, clicks; goth, hipster, nerd, strangers.Pincushion to Serve as Fetish 1965 by Dorothea Tanning born 1910

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