Photo taken of some idiot dreamer as part of a Uniqlo gig at opening days at Switch
Wa doo eye kerno? (That’s ‘What Do I Know?’ in real Englitsch. Not much! I’ve only been making ‘art’ since ’68 now, 48 years later am 65, 66 on 27 Oct!. So I tink I knows a bit about ‘art’.
I visited the Switch (aka New Tate build) twice this week. I LOVE IT!
I got an overwhelmingly positive feel in the place, despite LONG queues, big crowds and the obvious commercial success of art (something which fro 48 years eluded me work & still does, I’m not represented in the Tate butti don’t mind cos am represented in this blArt…I’m in the Tart!
I could already write a book about the value of the New Tate (Tate Modern & Switch). It employs thousands of people, some on a wage, some for free, some just ogle at Great Tate.
I first went to Tate in 1967 and it were a massive part of my Art Education. Now I am working on 3 books about my life & work. Two are already written; The Shrewd Idiot and Genie Ass. Its taking time to lay them out, so you have to be patient cos they’re on the way.
a little Bourgeois sculpture from the Tate collection .
“Louise Bourgeois is the Godhesse!”
I thought that as I looked thru the new room dedicated to work she did which Tate now owns! https://www.google.co.uk/webhp?sourceid=chrome-instant&ion=1&espv=2&ie=UTF-8#q=Louise+Bourgeoise
I’m sad to say Andrew Marr on the BBC2 kept harping on about the £260 million it cost.
http://www.bbc.co.uk/iplayer/episode/b07hk12j/new-tate-modern-switched-on?suggid=b07hk12j
Marr’s underlying take on it was poor but Waldemar Janacek’s was even worse, but I have about as much respect for his views as I do the woman who got up and walked from mher bed when Saint Saatchi told her to get up & walk.
This woman who got out of her bed to talk to Marr has been involved in ‘art’ for less time than me (but should be more articulate cos she is paid millions to practice) said a work by Louise Bourgeois is a ‘mindfuck’.
I think anyone with a ounce of intelligence may see what she was getting at but I’d have thought she could have been more descriptive and constructive about that great artist who actually tolerated her more than I do even though Bedgirl stole many of her ideas and methods.
Anthony Gormley talked well about a work he did with 5 eyes on it (it’s very good). He got lucky back in 1981 when Serota at the Whitechapel consented to show his early sculptures. I never had that big a break, yet, well accept it I never will, ‘Never say never’, I just did! Compare my Billy No Breaks to Gormley’s big bits breaking waves near Liverpool, albeit he’s done some good stuff, his angel still flies north and I saw his 2003 show at Baltic.
http://balticplus.uk/antony-gormley-domain-field-installation-shot-2-c10436/
I still keep making my art, this blArt is pArt of it too.
Mona Hatoum’s show is wonderful too.
I posed for these photos in her ‘Corps Etranger 1994’
I love her utilizing mundane, nay ubiquitous, materials; weaving it into her clever metaphors. I love her glass grenades, her toy soldiers arranged as an infinite loop. Worth seeing. As is the work called (or by) Tarek Atoui in the basement at Switch.
It’s several musicians make sound out of instruments designed to emit sound electronically (or sommat like that!). It’s part of the Tate Live Art stuff. One day I may be able to do ma ting there too cos I am a live artisbloke as you know.
Actually over the years I have performed at Tate in many ways. I first entered as a raw-would-be-artibloke in the 1960s. In the 70s I frequented it as I became a teacher. 80s I took my own audiences in the shape of coach trips from my night classes and i drew Paulozzi. 90s I took my own childers one of whom is now a curator and i drew Miriam Patchen and then Bruce that Scottish fella. Noughties I stood in a massive derelic buildin and thought ‘they’ll never make it work, then on opening day I saw a surge of folks walking like Pina Bausch dancers into the Turbine Hall. In the 2010s I couldn’t afford the member’s pass until my state pension kicked in this year and I re-joined. Glad that I did, a good year to do it.
‘ere’s a bonus poem:
The Beauty of making my art today
The Beauty of making my art
After 50 years of trying to make it
I finally made it, good.
How do I do it now?
It’s easy after all these tears
I cried many many years
As they ignored me, all ways
Now I come into my own
Do it my own way I do too.
Finally, here’s a sign i saw on a London Bus as I travelled to the Tate
apulhed tingling 