Francesca Woodman, Jim Dine
London you smell, London you're awkward. Mayfair is full of art and Lamborghini's, and things I can't afford. I went for a day of art in London, and saw so much, even I was surprised at the variety I managed to fit in. The tube was packed, everything seemed really expensive and the only thing I bought was an overpriced Zine on drawing as a way of dealing with anxiety and depression.
Francesca Woodman,Victoria Miro Mayfair
My love for Woodman started and her works started either just before, or in my first year of university, and her photographs influences around 95% of my own photography at that time. I was quite excited to see Woodman's work in the flesh as it were. Many of her photographs depict herself, fading out of focus, nude, blurred, or all three.
Woodman killed herself at aged 22, and the photographs left behind show an intimate portrait of a young woman not quite comfortable, a woman trying to fit and find her place. The exhibition at Victoria Miro Mayfair was Woodman;s first solo show, and in all honesty, I was disappointed. I'm not sure if this is because I'd set my expectations so high or because it really could have been more.
I wanted to see more, and although the images were close and personal, the viewer having to investigate the image closely, I wish they'd been more, more images, Francesca Woodman took over 800 photographs, so to only show 25; I don't know. What there was, was beautiful, haunting and encouraged contemplation in my mind, what there was showed off Woodman's keen eye and subject matter and as an introduction for the artist works exceedingly well, but for those of us that know and relate to Woodman's work, maybe more was needed.
Jim Dine, The Alan Cristea Gallery
A History of Communism was the introduction I needed for Jim Dine's work. Dine worked on top of anonymous drawings, echoing his own personal history (Eastern European, Jewish Grandparents from Lithuania and Poland).
The visual language is perfect, I feel touched by the images and the care taken to create them is evident. I am biased though, there is a soft spot in my heart for any print-making technique, and there always will be. More importantly the works show a link to a country and regime and government that does not formally exist.
A little more research into Jim Dine reveals an artist that has appropriated objects, and symbols of communism before, which makes this show feel even more succinct and beautiful. Then again, I'm a sucker for reduced colour palettes. The re-interpretation of the original drawings is clever and well-executed, and has, like any successful show, piqued my interest in seeing more of Jim Dine's work.