Paid a short visit to Ditchling Museum of Art and Craft. Must admit that I feel conflicted about this museum given it’s association with Eric Gill.
Their latest exhibition is Signs of Ditchling: a tradition of lettering from 1800 to the present day. Marking the centenary of Edward Johnston’s typeface for the London Underground this exhibition was disappointing. The exhibits were incoherent and lacking good explanations. Oliver Wainwright of the Guardian seemed to enjoy the exhibition though. HERE is his review. Quite and achievement to have designed such a clean and enduring font, amazing work by Johnston.I didn’t realise that Gill Sans was so closely based on Johnson’s underground fonts. More black marks for Eric Gill.
The contemporary Bob & Roberta Smith piece at the entrance just seemed gratuitous.
Bob & Roberta Smith, Communication. (GCSE result D – could do better)
NGC3314 a and b. Final drawing.
The material used to make this drawing is fusain or lignite collected from Cliff End, Pett Level where there is a thin seam of conglomerate in the Wadhurst Clay called the Cliff End Bone Bed. Approximately 140 million years old, the Cliff End Bone Bed was deposited when the light that we see now, left from NGC3314b (the farthest away galaxy). Ie. we are looking back in time at how things were in galaxy NGC3314b, 140 million years ago.
The closer galaxy NGC3314a is approximately 117 million light years away from Earth. The light from NGC3314b illuminates the dust lanes of galaxy NGC3314a. These galaxies are so far apart that they have no influence on each other. From the perspective of Earth they appear to be a pair.
Back to trying to read Nihil Unbound for the third time!!!
Two drawings made using fossilized plant material. Probably conifer tree trunks. The image on the right is made using material that is 100 million years older than that used to make the left hand image. The material used to draw the right hand image is brown in colour and may be lignite whereas that on the left is black, carbonised wood or fusain.
The Big Steam Print Brighton
The Big Steam Print, Brighton.
Continue with drawing of The Virgo Galaxy Cluster.
Materials = gessoed paper, fossil carbonized ‘wood’, knife, eraser, cotton buds and water, fixative spray and masking fluid. Very slow process of adding and subtracting fossil carbonized ‘wood’.
Hauser and Wirth Somerset. Superb location and garden:
At the top of the garden is The Radić Pavilion. This ‘object’ shouldn’t work but it does work, creating an amazing space.
Inside The Radić Pavilion. Is this Martin Creed? No, it’s the other half pretending to be Martin Creed! The myth – the French had threatened to cut off the index and middle fingers of any archers they captured. But since the English won, the archers then stuck up these two fingers to show they still had them. (Battle of Agincourt)
Astonishing amounts of money must have been spent on this, previously derelict, farm and farm buildings creating a wonderful place to visit.
The current exhibition is Martin Creed’s What you find. Following the Creed’s residency at The Maltings studios in Bruton , major piss-taker, Creed has produced an exhibition that is true to form. Completely disjointed works seem to make no sense at all and the sound piece that says f**k off just confirms that he’s testing if the art world will accept any old rubbish – literally! Good on him. Test this hypothesis to destruction.
Guardian art reviewer Adrian Searle, seems to collude with this art world madness!
Still from a Creed film.
Herbs – curated! WTF!!!
Matthew Day Jackson, Magnificent Desolation 2013