A review of the exhibition seen at the Tate Modern on friday the 20th of November with the talented tutor from design competition module Cecilie Barstad. Sketches + analyse + observation
Seeing ‘The World Goes Pop’ was incredibly relevant and extremely interesting for my young artists eyes. Unfortunately visitors we’re not allowed to take any photos but as a group of creatives graphic designers and illustrators from the Cass we ventured in and sketched did many amazing sketches!
I believe it is a great idea to take a sketchbook and make drawings instead of pictures. Whenever I look at my sketches now I could imagine the whole colours and techniques used by the artists in those works which is crazy since sketches are made only in black pen.
As soon as I have entered the exhibition which consisted of different colourful objects and paintings my eyes were suddenly caught by the moving screen and noise coming out of the tv in the far right corner of the very first room of the exhibition.
Tadanori Yokoo KISS KISS KISS , 1936
Images of kissing couples, crying pop art style faces were probably the thing that you would see and could not imagine this piece of art standing in any other rooms of the Tate, this just belonged there too well. Sounds of smooching, passion and tears all in the illustrated animated sequences. Amazing. It definitely got me into the mood of the whole exhibition straight away.
Jerzy Ryszard “Jerry” Without Rebellion / Bez Buntu , 1943-80
Located piece on the left hand side as soon as you step into the exhibition this yells of brutal truth scream and rebel. It consists of big canvas with a lot of red involved (the two circles and tongue). The tongue becomes a piece of material slide out the canvas ‘pierced’ with the nail. Pierced tongue secured to the floor with a nail is a brutal symbol for the experience of censorship the in the communist Poland. The eyes are the version of the Polish national emblem of eagles in front of a red sun. Over all this piece leaves a lot of thoughts inside and is hard on the emotions.
Ushio Shinohara Doll Festival / Onna no Matsuri, 1966
Fluorescent paint, oil paint, plastic board on plywood. Doll festival is being celebrated each year in Japan. Shinohara revisits the subject often depicted in Japanese wood block prints, using pop colours and materials such as fluorescent paint and plastic. The traditional figures placed wearing Western clothes in the centre of the scene. Under cherry blossoms they embody the modernisation and rapid americanisation of the Japanese society. Painting is the divided into three pieces which makes it look really interesting and looks sort of a story time line. Very bright chaos is happening in the piece but even though it looks joyful in the perspective of the colours it still has its mystery and brings a vibe of changes that Ushio was reflecting on.
Evelyne Axell Valentine , 1966
Oil paint on canvas. ‘Valentine’ depicts the liberation of the female body, personifies by Soviet cosmonaut Valentina Tereshkova. An idealised and unzip able silhouette paired with a spacesuit helmet ‘Valentine’ is both a feminist heroine and a monument to female erotism.
Eulalia Grau Nixon (ethnography) 1973 on the left & Office (ethnography) 1973 on the right
Photographic emulsion on canvas, private collection X51013. The piece consists of 3 different images. The 37th president of the USA Richard Nixon. The piece of the black block must objectify the scandal and him showing a fist as a fight back but over all not the best representation. In the middle of the canvas we have a symbol/emblem that says President of the United States which refers to the name of the work and an upper part of it. In the third image there is a monkey lying in bed. All of the three images are different but make you come up with one of few thoughts that ties us all the image into one with a spice of satire and irony. Another one is called ‘Office’ which is also a photographic emulsion and aniline on canvas which I did not really understand what was the message of it but thought in general it looked intense and interesting while searching for the ‘meaning’ behind it. It presents an office with a chair and under that image are followed three different others with a man underwear. Since the underwear was looking kinky and fun and the office so empty and boring maybe it had a message sort of saying how individuals (men) are hiding their individuality in the office or a bit of feminism wind saying why there are only men presented in the office?
Joan Rabascall Atomic Kiss , 1968
Room 3, acrylic paint on canvas. Rabascall has said ‘Atomic Kiss’ reflects the year 1968, it was a year of student protests from Berkeley to Berlin, via Paris as a response to the politics at that time. Strong and clear piece, very intense in use of colour and illustrated movement of explosion coming out of the lips.
Jerzy Ryszard “Jerry” The Smile of Thirty Years, Ha, Ha, Ha , 1974
Oil on canvas. Sewn mouth subverts official iconography and in a critical intake on Polish society at that time. As a symbol of censorships and locked out freedom of words. Background is blue and the white upper lip with red lower one coloured in Polish flag colours in the form of lips.
Joe Overstreet The New Jemima , 1940/1970
Acrylic paint on fabric over plywood construction. Overstate reimagines the stereotypical image of Aunt Jemima, the face of an american pancake mix brand. The black servant who happily cooks, cleans and looks after the children for a white family. There she becomes a symbol of black pride, ready to fight for African-American rights. I love how satiric and humorous this piece looks.
Marcello Nitshe I want you , 1966
Appropriates the USA military campaigns at that period of time. Showcase the blood and pointing. Cotton padded plastic and acrylic paint on PVC.
Cornel Brudascu Guitarist
Room 4. ‘Guitarist’ is the face of a friend placed onto the body of a musician. The symbolism of iconic power + publicity. Green background, guitarist wearing pink velvet shirt and playing bright yellow electric guitar. Overall romantic sensitive piece.
Bernard Rancillac Pilules Capsules Conciliabules , 1966
Vynil paint on canvas. Painted when contraception pill was not yet legal in France, conversations about it were still secretive. ‘Conciliabules’ is a strong opposition of Catholic Church. Two piece painting on the left a foetus and on the right whispering girls.
Jana Zielibska Object II , 1967
Room 6: Pop Bodies. Mixed media. An object with a sensual seamless curtains with it inside a painted woman’s body figure with a mirror in the genital area.
Jana Zielibska Breasts ; Nose I-II
Representation and revealing of a female body.
Jana Zielibska , room 7
In room 7 walls painted in upside down pink nude woman figures decorated with pastel flowers and mirrors. Very sensual and soft room covered in paint and having a lighten up object in the middle Kandorya Mahadeva – mixed media plastic, mirrors paper, neon lights. Refers to eponymous temple in India and draws on elements of tantric hinduism and erotic rituals.
Sergio Lombardo John F. Kennedy ; Nikita Krusciov
Both paintings enamel paint on canvas, 2 leaders of super power during Cold War.
Boris Bucan Bucan Art , 1972
Room 10 : Consuming Pop. Acrylic on canvas. These series appropriates highly recognisable brand logos, replacing company name with word ‘Art’. Loved the idea and performance of it.
Thank you for reading the review or just looking through sketches! Definitely best exhibition so far.
Big Thanks to Cecilie for rewarding me with a free entry as her plus one for arriving first to Tate in the cold early morning and also for this lovely picture she took of me and other students while our visit!