Interest in Robert Smithson’s landwork, Spiral Jetty (1970), peaked for me recently when reading Geoff Dyer’s interesting collection of travel works, White Sands (2016). Dyer described in his chapter, entitled Time in Space, his journey to the artwork and the delayed reaction in appreciating it; in fact most of White Sands deals with the delayed … Continue reading Responses: Robert Smithson’s Spiral Jetty (1970)
Late last year, I became obsessed with visiting a certain item in the British Museum. Deliberately choosing to work in or near Bloomsbury, I would often wander into the building in between working, making my way straight to one of the room's (on the right of the building) with a confidence and determination that clearly … Continue reading Responses: John Dee’s Obsidian Mirror
I've written extensively about Derek Jarman's short super-8 film, Journey To Avebury; one of his earliest experiments in film that channels so much of the genii loci of English landscapes, ubiquitous in the more interesting of English arts. His walk through the Wiltshire landscape after the intense stint of work on the sets for Ken … Continue reading Responses: Derek Jarman’s Landscape Paintings
When Jeremy Deller took control of the UK's pavilion in the 2013 Venice Biennale, the press coverage caught hold of one specific aspect that the artist discussed; its "aggressiveness". With environmental concern sat at the heart of the exhibition, alongside the general political upheaval caused by the coalition government during its third year of power, … Continue reading Responses: Jeremy Deller’s A Good Day For Cyclists (2013)
Throughout 2016, I've been trying to respond to artwork about landscape in more ways than simply essays. I found that in trying convey work that I liked, there was only so far I could go with conventional journalistic and essay writing. At the tail-end of each response article, I've been sneaking in a poem about … Continue reading Responses: Poems On Landscape and Melancholy
I first encountered the work of Tessa Farmer during a rainy daydream in Saatchi Gallery a few years back. It was a strange experience as, staring at her Swarm (2004) piece, it took a while to pinpoint exactly what was unnerving about the work. The discovery of a micro-agency controlling the taxidermic happenings in the … Continue reading Responses: Tessa Farmer’s La Chasse (2016)
The photography series, Areas Of Outstanding Natural Beauty (1982-1984), was the first work I came across by Keith Arnatt. This was some time before he would eventually be back in vogue thanks to Tate Britain's well received conceptual exhibition, of which his most famous work, Self Burial (1969), was the publicity image for. Very much … Continue reading Responses: Keith Arnatt’s A.O.N.B (1982-1984).
Alison and Peter Smithson are two of the most influential architects of the 20th century. This is in spite of the fact that only several of their buildings made it past the design stage and that, of those that did in the UK at least, they have often been reviled as the most grim of … Continue reading Responses: Alison and Peter Smithson’s Architecture (London).
As a last hurrah of being on Merseyside before moving, I decided to revisit a place just down the road from where I'd lived on The Wirral; armed with a desire to dig up some of its surprising past glories. I've been going to the seaside resort of New Brighton for as long as I … Continue reading Dérives: The Magnet and The Last Resort (New Brighton).
Rather like the work of sculptor, Andy Goldsworthy, Richard Long's work almost constantly and immediately asks an intriguing question: which part of the work is the official segment of "art"? Is it the very act of the process of making and doing which so often constitutes the work or is it the very documentation of … Continue reading Responses: Richard Long’s A Line Made By Walking (1967).