Gifts to Myself

December 26 is Boxing Day in Canada.  Like Black Friday in the US, that’s the time to pick up bargains, and pay half the price you did just two days before.  And like Black Friday, it’s the time for legitimate self indulgence for the common good, our economy.

In recent years I’ve avoided shopping on Boxing Day. I know some people getting up at 5 am to line up for a store opening at 6.  My own experience of the Boxing Day craze had been standing 3 or 4 people deep, stretched out my arm to the sale table and grabbed whatever I could out of it, hopefully something I needed.

Out of curiosity, I gave it a try again this time around… and sure glad I ventured out.  I didn’t have to fight the crowds, and waited just a bit longer in line-ups . But well worth it.  Here are some of the gifts I got for myself at half price: wall calendars which I won’t be hanging up.

I know, prices here are not as low as in the US… we’re always paying a few dollars more in printed products. But just about $10 each, these beautiful art calendars are good buys for me. Best of all, I found all my favorite artists.  Those familiar with Ripple Effects would know.  I’ve posted on Vermeer (Dutch, 1632-75) here, Edward Hopper (US, 1882-1967) here, and images of René Magritte (Belgian, 1898-1967) here and here.  So I was really excited to be able to find big prints of their works.

VERMEER 2011


 

The 12 paintings are some of Vermeer’s well known works.  The cover of course is the most famous, The Girl With The Pearl Earring (1665).  If you’re interested, you might like to read my reviews of the book based on this painting and the film adaptation here.

I have seen two of the paintings in the calendar, The Lacemaker (1669) and The Geographer (1668-69), both at The Louvre.  Interesting that the calendar prints are about the same size as the originals, or maybe even a tad bigger, for The Lacemaker.  Here are my photos of them hanging on the wall in the Louvre:

 

But the July print stands out, the only one that has an exterior view.  It’s my favorite of all the twelve months.  The Little Street (1658):

 

 

Edward Hopper 16-Month 2011 Calendar


 

I have 16 prints of some of my favorite Hopper paintings.  A few of them I’ve posted before, asking readers’ opinion on them. Here are a couple more that I’d like to elicit your views:

People In The Sun (1960)

 

 

 

Chop Suey (1929)

 

Magritte 2011


 

The cover is the Belgian artist’s work in 1953, Golconda.  Just wondering… is this the origin of the term “rain man”?  Or, are the men going up like balloons?

René Magritte was born just 16 years after Hopper, and died the same year, 1967.  So contemporaries they had been for some years, but a world of difference in terms of style.  I like the realism and existential elements hidden in Hopper’s works, but I also enjoy Magritte’s surrealist and whimsical images, openly challenging our sense of reality:

The Treachery of Images (1929)

Ceci n’est pas une pipe:  This is not a pipe.  Your take on this?

 

The Interpretation of Dreams (1935)

 

In the past years, I’ve saved up a lot of visuals just like these calendars, as teaching materials for adult ESL.  But this one definitely cannot be used for vocabulary building.  Just hang on… that may well be what Magritte is saying: ‘In a dream world, a horse can be a door, a jug a bird…’  And for that matter, how do you know you’re not dreaming right now?  Mmm… just wondering, has the movie Inception included Magritte in the credits?

 

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Tate Modern and Billy Elliot

Solution to Arti’s Cryptic Challenge #1:  London… don’t mind the gap.

When time is short, you must select and forego.  The Tate Modern has long been on my ‘must-see’ list yet unfulfilled.  So for the short stay I had in London, I chose this one above all else.  Five years ago, my then 15 year-0ld son went to visit and wrote in his email back to me: ‘Tate Modern is brilliant.’  This time I got to see it first hand.

If a museum of modern art can wow a teenager, there must be something in there that links the gap.  And was I disappointed?  Yes and no.  No because it was brilliant indeed, both the conceptual design, architecture and the exhibits.  And yes, because I was so preoccupied with the directions getting there from our hotel that I forgot my camera.  No excuse for that, I know.  And what makes it worse, the museum allows photography even of its exhibits.  In my utter disappointment, my now 20 year-old said to me calmly, ‘you just have to make do.’  That I did with my iPhone.

The Tate Modern was converted into a modern art museum from an obsolete power plant on the south bank of the River Thames.  The idea itself is brilliant. What better use of a derelict power station along the beautiful Thames?  Used to be a gloomy stretch of land by the river bank, now the whole area, the Southbank, is revitalized and is home to many London attractions, including the Shakespeare Globe Theatre, the Millennium Bridge, The London Eye, theatres and green, open space.

And thanks to Wikipedia Commons, I found the following photos.  The Tate Modern viewed from the Millennium Bridge.

The Tate Modern was designed by the Swedish architects Jacques Herzog and Pierre de Meuron, the 2001 winner of the Pritzker Prize, the ‘Nobel Prize’ of architecture.  Their concept of maintaining the industrial motif and juxtaposing it with the artistic is ingenious.  Furthermore, they have turned the massive industrial space into a people space.  The main entryway is named The Turbine Hall, allowing people to fill the massive vacuum that was once associated with a power plant. The huge area also makes display of larger pieces of exhibits possible.  Now they are doing it again, yet another redesigning, an even more amazing remodelling and addition, all for the 2012 Olympics Summer Games in London.

Two streams of thoughts constantly ran through my mind during this trip.  One was the dichotomy of ‘High Art’ and ‘Public Art’, ‘high culture’ and ‘popular culture’.  Does such a rift still exist?  All the galleries and museums I visited were all flooded with people.  It was hard to take a picture without any heads caught in the frame.  So every photo I took was immediate.  I had to wait for people to move away and snap the moment quickly.  In the Turbine Hall at the Tate Modern, I saw families with young children, many pushing baby carriages, kids doing cartwheels on the huge floor space.

Is it still ‘high art’ if the exhibits are free to the public, a destination for family outing?  As a rock concert ticket can cost hundreds of dollars… now does that re-define the ‘high’ in culture?  Is it still ‘high art’ if people can get in free, as with the Tate Modern collection, enjoy what they see, gasp at the possibilities, or be bewildered by a notion conveyed through an artwork?  Do we need to ‘understand’ art in order to enjoy it?  Maybe we should just allow the object of art to speak for itself, and thereby, linking the gaps between us.

Here are a few exhibits I took with my iPhone.  Please do click on the link of each piece to see the good photos at the Tate Modern website and an explanation.  I was gratified to see works from some of my favourite artists in their original.

Metamorphosis of Narcissus by Salvadore Dali, the work that changed Freud’s original negative view of Surrealist art.  In the painting, you’re supposed to see Narcissus on a pedestal in the background, then kneeling by the fatal pond, and lastly transformed into a flower… and what a self-absorbed egghead he was:

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Man with a Newspaper (1928) by René Magritte (1898-1967), under the section ‘Poetry and Dream’.  These are supposedly four different perspectives … mmm … , but hey, this is Magritte speaking.  His dead pan surrealist style is regarded as a subtle form of social critique.

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And here are a few other interesting works. Polish artist Magdalena Abakanowicz’s ‘Anti-form’ sculpture which she created during the 1960’s Soviet-occupation of Warsaw, another example of the freeing effect of art and the social statement they subtly convey:



Untitled sculpture with wood and wool by Jannis Kounellis, homage to Jackson Pollock’s drip painting:

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I like this work of open books, but don’t remember the artist or the name of it.  With the fast emergence of eBooks, this work could soon become an antique artifact:

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The second event I chose was to see ‘Billy Elliot The Musical’.  I liked the movie a lot, appreciating the depth of conflicts which touch on the same dichotomy: ‘High Culture’ and ‘Mass Culture’, and the seeming incompatibility of art and life.  A miner’s son in a blue collar neighbourhood is attracted to the beauty of the ballet, and the freeing energy of dance.

The conflict persists starkly as the political backdrop of the miners’ strike turns ugly in the 1984-85 years. While their livelihood is at stake, and as the miners determine to pose the fiercest strike action against the Thatcher government, where does ballet come in?  It sounds trivial and even surreal to think of ballet compared to the major battles raging in the country. But this is also a conflict between the individual and the masses, the individual and, yes, even the family.

Billy’s new-found love and immense talent ultimately melt the heart of his macho father and older brother, and soon those in the mining community.  He is given the chance to audition for the National Ballet School, with the local miners raising funds to support his cause.


The movie allows more in-depth exploration of internal conflicts while as a musical, the focus has shifted to the dance performance, the music, and for crowd appeal, some Monty Python style romp com, mellow-dramatic scenes, and many exaggerated, stereotypical expressions and language choices. I’m afraid it looks like a contrived way to bring the ‘high’ down to the ‘common’ level.  Elton John’s music while lively, seems lacking in variety and depth compared to his other works and those in the Andrew Lloyld Webber tradition.

Performed on the London stage since 2005 and still going strong, ‘Billy Elliot the Musical’ is directed by Stephen Daldry, lyrics and book by Lee Hall.  It has won both the Lawrence Olivier Awards in England and the Tony Awards in the US.  It went on Broadway in 2008, and on the main stages in several other countries.  The night I went the role Billy Elliot was performed by 12 year-0ld Rhys Yeomans, and he was marvellous, both as actor and dancer.  He practically carried the whole show on his young shoulders, singing, acting, and dancing in superb style, energy, and versatility.  The role of Michael, Billy’s friend, was done animatedly by another 12-year-old, Reece Barrett. The boys’ performance were the main attractions for me.

In the middle of the show however, the performance was interrupted by a technical difficulty.  It was no minor glitch.  We had to wait in our seat for around 15 minutes before performance resumed.  Now that had discounted some of my enjoyment.  And when the show started again, a scene was skipped.  But overall, it was quite an experience at the Victoria Theatre in London.  A good choice I still think considering the limited time I had in London.