Adam Yamey's Blog: YAMEY, page 58

An email from the USA about a sculpture made of metal

A COUPLE OF DAYS ago (in March 2024), I received an email from the widow of an American (USA) anthropologist with whom my father collaborated many years ago (in connection with the economic aspects of peasant society). She wrote that she had read one of my blog articles about my mother’s career as a sculptor, and wanted to let me know that she and her husband had bought one of them while my mother was alive (she died in 1980).

I asked the lady whether she could send me pictures of the piece they had purchased. She did. The piece is abstract, and made of pieces of steel welded together. At first sight, you might mistake it for a work by Anthony Caro (1924-2013). This similarity might well have arisen because my mother and Caro worked together in the sculpture studios of London’s St Martin’s School of Art.

I was pleased to receive the two photographs of the work because I remember that steel and metal working were my mother’s favourite materials for creating sculptures. After she left St Martin’s, she had a studio in a garage in Golders Green, but did not have access to welding equipment and other tools needed for making steel sculptures. Instead, she created large abstract works from heavy chunks of timber, but this did not satisfy her nearly as much as working with metal. Gradually, she lost enthusiasm for sculpting, which I felt was a great shame.

I am very grateful having received the photographs, and seeing them prompted me to write this short piece.

Spring is a comin’

Gold and violet

Crocus-es and daffodils

Spring’s soon on its way

Greys Court, near Henley-on-Thames

PHOTOGRAPHY, POLITICS, AND FEMINIST PROTEST IN PECKHAM

PHOTOGRAPHY HAS LONG been an artistic medium for expressing protest. This is well exemplified by photographic images on display at the excellent “Women in Revolt” exhibition, which is on at London’s Tate Britain until the 7th of April 2024, and is well worth seeing. Running concurrently with this. is an exhibition at the South London Gallery (in Peckham) – “Acts of resistance: photography, feminisms and the art of protest”, which is on until the 9th of June 2024.

As its title suggests, the show at Peckham consists mainly of exhibits that make use of photography. There are also several digital items.  The subject matter deals with matters that concern feminists (and ought to concern everyone) including rape, abortion, genital mutilation, other forms of violence against women, and so on. Unlike the exhibition at Tate Britain, which deals mainly with feminist activities in Britain during the 1960s to 1980s, this show was to coin a phrase ‘art sans frontières”, and bang up to date. The exhibition has as its inspiration the words that the artist Barbara Kruger used in 1989:

“Your body is a battleground”.

Incidentally, there is an exciting exhibition of Kruger’s work at the Serpentine South Gallery (in Kensington Gardens) until the 17th of March.

The exhibition at Peckham (to quote the gallery’s website):

“… explores feminism and activism from an international and contemporary perspective. Looking at different approaches to feminism from the past 10 years, the show highlights shared concerns including intersectionality, transnational solidarity, and the use of social media and digital technology as a tool for change.”

It includes works by at least 20 artists, some of them working as collaborators. Their creations are displayed well both in the gallery and its annexe nearby in a disused fire station. Put simply, the works on display at Peckham have a far more visceral impact than those being shown at Tate Britain, which in many cases appeal more to the brain than to the heart. Even if you ignore the messaging conveyed by the artists in the works at Peckham – and this is not easy to do – their visual impact is magnificent. They are works of art as well as being tools of protest. This is an exhibition well worth making the trek out to Peckham!

At the Pig and Abbot

A warm welcome

Awaits the hungry visitor

At this rustic pub

Pig and Abbot pub, High St, Abington Pigotts, Royston SG8 0SD

THE EMPRESS BRANDISHES HER REVOLVER DURING A BATTLE IN ETHIOPIA

THE BRITISH MUSEUM is chock-full of exciting exhibits. To view them all would take many months, if not years. During a recent visit in March 2014, we were heading through the museum on our way to view a special exhibition of drawings and prints by four post-WW2 German and Austrian artists when we passed a painting that caught my eye. The exhibition was fascinating but not as much as the painting we passed as we were heading towards it.

The colourful painting (oil on cloth) was created in Ethiopia sometime between 1940 and 1949. So, by the British Museum’s standards it is relatively modern. The picture depicts two large armies facing each other. On the left side of the image, we can see the Ethiopian forces, and they are facing the Italians on the right side. Between the two armies, there are several dead or injured combatants. And amongst this carnage, there are two armed men on horses – they are riding towards the Italians. The faces of the Ethiopians are not all the same in appearance, whereas there is almost no variation of the faces of their Italian opponents.

Although it was painted in the 1940s, the picture illustrates the Battle of Adwa, which raged on the 1st of March 1896. The Ethiopians defeated the Italians. By the end of the 19th century, most of Africa had been invaded and occupied by various European nations. The exceptions were Liberia and Ethiopia. In 1889, Italy, having occupied to coastal territory of Eritrea, signed a treaty with King Menelik of Shewa. It was signed in Italian and translated into Amharic. The Italian version made Ethiopia a protectorate of Italy – virtually, an Italian colony. However, the Amharic version read differently – it agreed that the Ethiopians could use the ‘good offices’ of the Italians in their relations with foreign powers, if they wished.

The Italians decided to go to war with the Ethiopians to enforce the Italian version of the treaty. The Battle of Adwa put an end to the treaty with the Italians, who then recognised Ethiopia as an independent state. This situation lasted until the 1930s when Mussolini decided to invade the country.

In the painting at the British Museum, Emperor Menelik II of Ethiopia is depicted in the top left corner in his royal crown. In the bottom left of the painting, seated on a horse, and surrounded by Ethiopian soldiers, sits Empress Taitu of Ethiopia. Look carefully, and you can see that this veiled lady is holding a large revolver.

The painting is in a short corridor, which also has exhibits relating to the Copts of Egypt. As the painting fascinated me so much, I took little notice of the exhibits near to it. So, as if one needs one, yet another reason to revisit the British Museum.

A short piece about a tall Art Deco building in London’s Bloomsbury

Senate House in London’s Bloomsbury was designed in the Art Deco style by Charles Holden (1875-1960), who also designed many buildings for the London Underground including quite a few stations on the Piccadilly Line. It was once, London’s tallest building.

Senate House was built between 1932 and 1937, and is the administrative centre of the University of London. Currently, there is a small exhibition about the planning of the building on the first floor.

Taking the plunge at the former YWCA in London’s Bloomsbury

MY MOTHER WAS ANXIOUS about water. Because I do not think that she could swim, I believe that she considered it very important that I should learn how to propel myself through water. As a result, my parents paid for me to have many private swimming lessons (usually on Saturday mornings) – most of them were a waste of their hard-earned money. I was a slow learner because I was frightened by the thought that I might sink and drown.

Today (the 4th of March 2024), we were walking from Tottenham Court Road Underground station to the British Museum via Great Russell Street. Along that thoroughfare, we passed a pre-WW2 brick building, which now houses the luxurious Bloomsbury Hotel. If you look above its main entrance, you can see carved stone masonry that indicates that the building, completed in 1933, was once a branch of the YWCA – it was The YWCA Central Club. The architect was Sir Edwin Lutyens of Hampstead Garden Suburb and New Delhi fame. It remained a YWCA until the 1970s, then became a hostel, and now it has been converted into its present reincarnation. While the building served as the YWCA it had a swimming pool in its basement. It was in this pool that I finally learned to swim – I was about 12 years old.

The Saturday morning classes were conducted by a Mr Brickett. Each of his pupils began by buying a set of his inflatable arm bands, which were worn on the upper halves of the student’s arms. Each lesson, Mr Brickett inflated the arm bands, and using these, we swam (or made our way) across the width of the pool – without letting our feet touch the bottom. On each successive lesson, Mr Brickett inflated the armbands less than on the previous lesson. Eventually, we were making our way across the pool with uninflated armbands. When we could do this, we had to swim one width (about 10 yards) without the armbands, and then we were given a fancy certificate with a Union Jack printed on it.

I have only just learned that Mr Brickett, who taught me how to swim, was Reg Brickett, who, along with his brother Sidney, was a founder member and then President of the Swimming Teachers Association of Great Britain. Reg was the inventor of the arm bands, which were sold as ‘Brickett’s Swim Easy arm floats’ (www.playingpasts.co.uk/articles/swimming/the-valuable-and-unremitting-services-of-swimming-coach-walter-brickett/). Reg and his brother were sons of the famous British Olympic swimming coach Walter Septimus Brickett (1865-1933). He was responsible for training over 100 British swimming champions. Well, I did not know any of this when I was awarded my (now sadly lost) certificate.

We entered the attractive lobby of the Bloomsbury to ask about the pool. The pool is no longer in use, but still exists. It has been covered by a floor, and the room that housed it has been redecorated, and is now used to host functions and meetings. Although I swim extremely rarely, I do not think that I will ever forget my lessons with Mr Brickett at what was once the YWCA.

Memories of Gujarat (India) at a park in north London’s Golders Green

GOLDERS HILL PARK lies halfway between Golders Green and Hampstead – both in north London. It occupies what used to be the extensive grounds of a former country house that was built in the 18th century and destroyed during WW2 (in 1940). Its fine landscaping was influenced by the great garden designer Humphry Repton (1752-1818). I have been visiting the park since my early childhood in the 1950s, when, if I remember correctly, my parents used to play tennis on the still existing tennis courts. The park has many attractions including a pond with an attractive stone bridge; a walled garden; many fine old trees; plenty of shrubs and flowers; a bandstand, which was certainly in use during my childhood; a good café-cum-restaurant; a wooded area; a stumpery; a deer enclosure; and a small zoo. The deer enclosure and the zoo were in existence when I was a young child. Today’s visitors can watch the deer and view animals such as wallabies; ring tailed lemurs; at least one kookaburra; donkeys; and a variety of exotic birds. The pond mentioned above is often visited by ducks.

Today (the 3rd of March 2024), we visited the park on a crisp, cold, sunny morning. The dew-covered lawns were full of blooming crocuses, and some of the bushes had burst into flower. Most of the trees, being deciduous, were devoid of leaves. By chance, I looked up at one of these leafless trees and saw a children’s kite caught up in its branches. Seeing this, my thoughts shifted 5000 miles from Golders Hill to Gujarat (in western India).

Wherever you go in Gujarat, you are likely to see kites caught up in the branches of trees. Unlike the kite I saw today, those in Gujarat are not the toys of small children, but part of a festival celebrated once a year, The Hindu festival, which celebrates the increase of day length a month after the winter solstice is known as ‘Uttarayan’ in Gujarat. The occasion is celebrated by kite flying. During this period of kite flying, riders of bicycles, motorcycles, and other two-wheelers face a real but, to the outsider, unusual hazard that could result in serious injury, if not death. I have described this festival and its hazards in some detail in my anthology of 101 vignettes of life and travel in India –“The Hitler Lock and Other Tales of India”.

Seeing the kite in Golders Hill Park reminded me of what I have seen in Gujarat during my several visits to that Indian state. However, although this year Uttarayan began on the 15th of January – not so long ago – I find it hard to believe that the kite I saw in the park was stranded in the tree during celebration of that festival.

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It’s great fun to read

AMAZING SCULPTURES AND COLLAGES BY A BRITISH POP ARTIST

HUMOUR, IMAGINATION, PLAYFULNESS, wit, social criticism, and creativity – these are all words that can be applied to the works of the artist Peter Blake, which are on show in a superb exhibition at the Waddington Custot gallery in London’s Cork Street until the 13th of April 2024.

Blake was born in 1932 in Dartford (Kent). He studied art at Gravesend Technical College, and then at the Royal College of Art in Kensington. He is a leading British exponent of Pop Art, which, according to Wikipedia:

“… is an art movement that emerged in the United Kingdom and the United States during the mid- to late-1950s.The movement presented a challenge to traditions of fine art by including imagery from popular and mass culture, such as advertising, comic books and mundane mass-produced objects. One of its aims is to use images of popular culture in art, emphasizing the banal or kitschy elements of any culture, most often through the use of irony.”

One of Blake’s most familiar works is the album sleeve for the Beatle’s LP “Sgt. Pepper’s Lonely Hearts Club Band”, which he designed along with Jann Haworth, his wife between 1963 and 1979. I wonder how many Beatle’s fans know that Blake was involved with making the image on this.

The exhibition at Waddington Custot is dedicated to Blake’s sculptural works. There has not been one during the last 20 years. Although there are many of his sculptures in the gallery’s three interconnecting rooms, many of his ingeniously witty collages are also on display. Employing images from comics, old books, and other printed matter, these collages are so carefully assembled that unless one looks at them closely and extremely obliquely, it is difficult to realise that these artefacts are not prints but collages.

The sculptures are with only a very few exceptions, wonderful assemblages or tableaux constructed with found objects. For example, one of these is a shelf overloaded with miniature booze bottles, all positioned beneath a miniature image of Leonardo da Vinci’s depiction of the Last Supper. There are several model sailing boats, on which Blake has placed plastic models (toys) of people expressing a range of behaviours. Other sculptural assemblies are more complex and need to be seen rather than described. I mentioned ‘exceptions’ at the beginning of this paragraph. This refers to four objects – they look like large stones (one of which is a carved stone head) – which Blake called “Found Sculpture”. Each of these is mounted on its own plinth. By doing so, the artist has ‘elevated’ these natural objects to the status of ‘fine art’, and as the gallery’s hand-out said, they challenge:

“… conventional notions of artistic materials …”

I loved the exhibition. Every exhibit is both interesting and beautiful … and great fun. As the show’s hand-out correctly stated, Blake’s sculptures are:

“… by turns quirky, endearing or engaged with conceptual concerns.”

His creations:

“… offer starting points for imagined narratives, each with a glimmer of Blake’s typically gentle, English sense of humour.”

And this is quite correct. Skilfully conceived and executed, Blake’s works provide nourishment for both the eye and brain in a delightfully digestible form.  If you view the exhibition with an open state of mind, you are bound to gain great enjoyment from it.