Bernd & Hilla Becher - Sprüth Magers

Bernd and Hilla Becher, Mine Head, Zeche Rossenray, Kamp-Lintford, 1979

Bernd and Hilla Becher is at Sprüth Magers until 4 October 2014.
I have long been a fan of the Bechers' typologies of 'Anonyme Skulpturen'. Anyone familiar with their work will know what to expect from this exhibition (the Bechers' methodology didn't change through 50 years or so of work) - a selection of formally framed, evenly lit, grey studies of industrial structures: gasometers, water towers, blast furnaces, coal bunkers and so on - sometimes presented as single photographs, sometimes in grids of 9 or 15. However, even though the general form and content of their work is completely familiar to me I am so glad that I visited this show: because these pictures are beautiful and facinating. It is easy to forget that photographic reproductions of photographs are no substitute for looking at original prints. The pictures in this show are exquisite.

Bernd & Hilla Becher, Mine Head, Siege De Folschwiller, 1987

Bernd & Hilla Becher, Blast Furnace, Rombas, Lorraine, 1984

Bernd & Hilla Becher, Blast Furnace, Boel, La Louvière, 1985

Bernd & Hilla Becher, Lime Kiln, Kaltes Tal, 1997

Bernd & Hilla Becher, Detail, Petrochemical Plant, Wesseling, 1983

Bernd & Hilla Becher, Gas Tanks, 1973-2009

Nadav Kander / Edward Burtynsky - Flowers Gallery

Nadav Kander, The Aral Sea I (Officers Housing), Kazakhstan, 2011

Nadav Kander: Dust is at Flowers Gallery, Kingsland Road until 11 October 2014
Edward Burtynsky: Watermark is at Flowers Gallery, Cork Street until 4 October 2014

Two manifestations of the contemporary sublime are on show at Flowers Galleries. The term 'Toxic Sublime' was coined originally by Jennifer Peeples in relation to Burtynsky's astonishingly beautiful images of polluted and contaminated landscapes. Here, however, it is more apt for Nadav Kander's pictures of the ruined landscape and 'secret' cities* (ie not mapped) on the borders of Russia and Kazakhstan which were Russian nuclear weapon test sites during the Cold War era. Watch a video of Kander talking about his work and read a review of the exhibition by Sean O'Hagan. (See also earlier blog entry on Kander's series of nudes.)
*Priozersk and Kurchatov in the Semipalatinsk Test Site.

Edward Burtynsky's current project focuses on our most vital resource: water. His pictures document the impact of global consumption and production on water supplies as well as how water acts on, and shapes, the environment. Watch Where I Stand: A Behind the Scenes Look at Edward Burtynsky's Photographic Essay 'Water' - really interesting: recommended. (I want a remote controlled, helipcopter camera!). A feature length documentary film Watermark by Jennifer Baichwal and Edward Burtynsky has just been released; watch a trailer here.
(See also earlier blog entry on Burtynsky's exhibition Oil)

Nadav Kander: Dust

Nadav Kander, The Aral Sea III (Fishing Trawler), Kazakhstan, 2011

Nadav Kander, Kurchatov IV (Telephone Exchange), Kazakhstan, 2011

Nadav Kander, Priozersk XIV (I Was Told She Once Held An Oar), Kazakhstan, 2011

Nadav Kander, The Polygon Nuclear Test Site XII (Dust to Dust), Kazakhstan, 2011

Nadav Kander, Kurchatov I (Scientific Research Facility), Kazakhstan, 2011

Edward Burtynsky: Water

Edward Burtynsky, Dyralaekir River on Myrdalssandur, 2013

Edward Burtynsky, Xiaolangdi Dam #4, Yellow River, Henan Province, China, 2011

Edward Burtynsky, Dryland Farming #13, Monegros County, Aragon, Spain, 2010

Edward Burtynsky, Oil Spill #13, Mississippi Delta, Gulf of Mexico, June 24, 2010

Edward Burtynsky, Pivot Irrigation / Suburb, South of Yuma, Arizona, 2011

Edward Burtynsky, Colorado River Delta #8, Salinas Baja, Mexico, 2012

Francesca Woodman - Victoria Miro

Francesca Woodman,  from Polka Dot Series, Providence, Rhode Island, 1976

Francesca Woodman: Zigzag is at Victoria Miro Mayfair until 4 October 2014.
Precocious and tragic, Woodman made her first photographic self-portrait aged 13 but died aged just  22 in 1981. In her brief career she made some 800 photographs of great subtlety and originality. She appears in her self-portraits as an unsettling presence - sometimes vulnerable, sometimes naked and sometimes like a ghost in abandoned rooms. 
Read an article by Rachel Cooke.
(NB the images here are my selection from her oeuvre and not necessarily included in the Victoria Miro show.)

Francesca Woodman,  Untitled, Providence, Rhode Island, 1976

Francesca Woodman,  Untitled, Rome, 1977-8

Francesca Woodman,  Space2, Providence, Rhode Island, 1975-8

Francesca Woodman,  Untitled, MacDowell Colony, Peterborough, New Hampshire, 1980

Francesca Woodman,  Untitled, Providence, Rhode Island, 1976

Francesca Woodman,  Untitled, Providence, Rhode Island, 1976

Francesca Woodman,  Untitled, MacDowell Colony, Peterborough, New Hampshire, 1980

Crucible 2 - Gloucester Cathedral (Part 2)

John Hoskin, Cantilever Square, Welded Steel

Crucible 2 is at Gloucester Cathedral until 31 October 2014.
Some supplementary images to main blog entry here. Click on images to enlarge.

Ralph Brown, Pomona, Bronze

John Buck, Underdog, Bronze and Lead

Ann Christopher, Split Shadow, Plaster

Nigel Hall, Southern Shade III, MDF

Marcus Harvey, Victoria, Bronze

Steve Hurst, Gloucester in Berlin, Bronze, Steel and Wood (detail)

Alistair Mackie,  Untitled (Sphere),  Mouse Skulls, Wood and Glass

Jordi Raga, Thames, Marble

Peter Randall-Page, Maquette for Seed, Bronze

On Kawara, 1933 - 2014

SEPT. 9, 2014
I GOT UP AT 6.50 A.M.
I AM STILL ALIVE

ON KAWARA IS [NOT] STILL ALIVE.
HE WAS ALIVE FOR 29,771 DAYS (APPROX.)

"Each Date Painting in his Today series, the magnum opus that he began in 1966, is a monochrome field on which is written the date the painting was executed, in the language and according to the calendar of the country where Kawara was at the time. If he does not complete a painting by midnight, he destroys it. Some days he makes two paintings; very occasionally, he makes three; but most days he makes none.

"Every painting in the series conforms to one of eight sizes, all horizontal in orientation, ranging from eight by ten inches to sixty-one by eighty-nine inches. For every painting the artist mixes the paint afresh, so that the color of each is unique. Tonalities in the brown-gray and blue-black range have dominated the last decades. Four or five coats of acrylic are evenly applied to the canvas, creating a dense matte surface. Letters, numbers, and punctuation marks are then built up by hand, rather than with the aid of stencils. Initially he used an elongated Gill Sans typeface, later a quintessentially modernist Futura. Variations in the letters or hues are of no symbolic significance, nor is the choice of a work’s color more connotative than its measurements." (Dia Art Foundation)

 
On Kawara was born 2 January 1933 and died June or July 2014.  Read obituaries by Jonathan Watkins and Roberta Smith.