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Art History

Bad Retail: A Romantic Fiction (excerpt)

[…] these quilted snatches are viewed as past moments – of clarity, beauty, civilization, and spiritual elation – that must somehow be retained and restitched in a sense, spliced onto the present, […] as if they were alive, as if they were types of intelligent, deathless energy, and this so as to allow the past, with a nourishing insistence, to feed the present.

(Oppenheimer 1998: 84, ‘Goethe and modernism’) Read more →

Where Dalí Meets Disney

In 1945, after a chance encounter with Disney at a cocktail party in Hollywood, Salvador Dalí was invited to collaborate on a short animated film entitled Destino. The project was eventually terminated in its preparatory phase, but a whole array of conceptual paintings (executed by Dalí himself) remained in the Disney archive, and, in 2003, the Walt Disney Company hired a team of French animators to complete the film based on the surviving sketches.  This was the version that toured in a number of highly publicised exhibitions, including the retrospective ‘Dalí and Film’ staged at the Tate in 2007, among other international venues. Read more →

The Sentimental-Sublime

In the autumn of 1927, Salvador Dalí wrote to his friend Frederico Lorca denouncing the much-admired contemporary Spanish poet, Juan Jiménez. The latter, according to Dalí, is a ‘putrid marasmus’ who ‘has never ever seen anything, only receives mangy emotions from things’ (qtd. Ades, 1994: 139).  Dalí was especially outraged by Jiménez’s famous story Platero y Yo (1914), an account of the poet’s beloved companion Platero, a donkey, and their bland sojourns through pastoral scenes.  As Dawn Ades has speculated, Dalí’s violent dislike of this gentle, sentimental story may have contributed to the appearance of the rotting donkey as a visual image in such paintings as Honey Is Sweeter than Blood and as a verbal parody in written communication between Dalí and Lorca. In one such letter dated early December 1927, Dalí signs himself… ‘your ROTTING DONKEY’ and adds, ‘may…Platero…die’ (qtd. Ades, 1994: 139).

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Lotte Gertz

Gertz’s latest series of paintings and prints were made in a studio that occupied the same space as her general living-area and are full of the sense of immediacy that results from an artist’s direct response to ‘close-at-hand’ materials and objects.

Gertz’s sources include those items she ‘stumbles-upon’ again and again in the intimate chaos that surrounds her as she works: a space where ‘living’ encroaches upon ‘making’, where  discarded playthings (a stuffed panda-toy or a wooden Pinocchio-figure) might be found side-by-side with DIY tools, painting and printmaking materials, half-eaten slices of fruit or cheese, still-to-be-drunk cups of tea, and photographs of famous artworks from books and magazines. Read more →

(In)Edible Beauty

We do not begin with a siren singing (that comes later) but with a human passenger in want of his sea-legs.  In the opening scene of Walt Disney’s cartoon version of The Little Mermaid (1989) (amidst a range of nautical-themed pratfalls), the Prince’s comic old retainer balks over the side of a galleon, his face coloured a septic shade of green. Read more →