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Which clippings match 'Flat Surface' keyword pg.1 of 1
14 JANUARY 2015

Allen Jones: the pop artist whose transgressions went too far

"Jones explains the situation, as he sees it. 'For artists of my generation, coming on stream in the Sixties, whatever you did you had to reckon with American gestural abstraction. The problem with figurative art at the time was that it had run out of steam, but the polemic was that you couldn't do it any more, which seemed absurd after 4,000 years of people making representations of each other. To me the Pop movement was incontrovertibly a swing of the pendulum back towards representation. The problem wasn't with representation, it was the age–old one – with the language. And the language had run out of steam. Using urban imagery as source material revitalised figurative painting, without a doubt. And recently the main thrust of the avant–garde from Basquiat and Schnabel up to Koons and company has been figuration with a vengeance.'"

(Andrew Lambirth 1 November 2014, The Spectator)

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TAGS

1960s1969 • accepted canons • Allen JonesBritish artist • Chair (1969) • controversydeliberately offensive • demonised figure • female figure • figuration • figurative art • figurative painting • figurative sculptor • figurative work • fine artflat colourflat surfacefurniture • Hat Stand (1969) • human bodyICA • in the wilderness • Jean-Michel Basquiat • Jeff Koons • Julian Schnabel • leather boots • made to offendmannequin • ostracised • outrage • piece of furniture • political correctitude • political correctness • politically correct • pop art • pop artist • provocative art • realistic representation • representational art • retrospective exhibitionscantily cladsculpturesexist • sexually provocative • Table (1969) • tabootransgression • unwritten taboo • urban imagery • wig

CONTRIBUTOR

Simon Perkins
06 SEPTEMBER 2011

Riduan Tomkins' formal use of figuration

"Figuration itself is not inconsistent with the Modernist tradition since, even the most abstract of Modernist work makes references to things outside itself, yet, of all the features in Tomkins' work, the distinctive way in which he uses figuration seems to set it apart from the rest. Giacometti–like (although informed by Picasso and Matisse) troupes of figures edge around the paintings always playing some formal role but never solely in virtue of their form, scale, colour or location. Typically they point, both literally and figuratively, to formal elements in the Works, including, curiously enough, each other – but they also fly on trapezes, hold safety nets, dance and strike poses. None of the figures, however, are merely incidental to formal issues and although interdependent with them they have, as well, a life of their own. This invites interpretation, at least to the extent that we find ourselves reflecting on how and why the figures appear to us as they do – like mute vandevillians whose master, Tomkins, having rendered them onto some flattened proscenium, orchestrates their participation in a frozen theatrical tragicomic tableau. However, we cannot know the purpose of such entertainments beyond their capacity to intrigue and amuse us."

(Ted Bracey, 1987)

2) Ted Bracey (1987). Robert McDougall Art Gallery [now Christchurch Art Gallery Te Puna o Waiwhetu].

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TAGS

abstraction • Alberto Giacometti • Aotearoa New Zealandauthentic residueChristchurchcolour fielddancedesign formalismfigurationfiguresfigures in spaceflat spaceflat surface • flattened proscenium • formformal elements • formal issues • frozenHenri Matisselegitimacyminimalist artmodernismmodernist traditionPablo Picassopainting • pentimenti • pentimento • proscenium arch • reflexive aesthetic practices • Riduan Tomkins • scale • School of Fine Arts • strike a pose • tableautableau vivant • Ted Bracey • theatricaltragicomictrapezeUniversity of Canterbury • vaudeville • visual language

CONTRIBUTOR

Simon Perkins
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