PREVIEW ART
Exchange and; »
art
The T—shirts stuck on the wall and the posters and magazines on display look temptingly available. if this is a supermarket does it mean that I can take a freebie from the basket of unpriced postcards and ask the cost of the varied little items behind glass'.’
Bravely extending the premise of photography to its litnits. everything in The Fairy Tale in the Supermarket is a reproducible object. whether it is text. clothing or photography. Street-wise and quirky. the artists involved chatupion the idea that using ordinary materials and straightforward messages can make an publicly visible and accessible.
Pam Butler makes simple. childish black pen drawings of women. on A4
Fairy Tale in the Supermarket: checkout art
paper. labelled anything from ‘lovcly’ an. attacking the tenuous distinctions obvious art historical links to Dada. but [mtg your shopping trolley behind. to ‘whore‘ challenging our linguistic between art objects and ordinary pop music and club culture. It seems ,\ ll‘L'L‘ postcard is as tar as you‘ll gcl stereotypes through a fortnat which she objects as well as divisions between so— that we are being invith to jurlgc an as mm >01”. [mm ~\mg jwmuxé m “like an can post all over New York. Jason called ‘high’ art and popular art. If readily as we would the latest track as “HUI-dilhlk. m gnjmjmlku Bowman prints messages onto pocket flyers, stickers. pamphlets and T-shiits ‘ t'roni ()asis. consultiablcs would undermine the very mirrors and toothbrushes. using can be displayed as art works. then Refreshingly open and pl‘(i\'tic;lll\C. foundations of the art market. That cosmetic objects as a vehicle for his these satne objects encountered on the ‘ this collection of work broadens our would really be a ltlll’V'lillC. (Tanya AIDS-related politics. street as ordinary consumer items perception of what art can be and Stephan) ' i i
The work in the exhibition is united should be judged by the same criteria. brings us closer to a meeting point Imit- lit/p in [/10 .S'u/wrmtn'kt'r is (l/ [/10 by the concept that an can be the This attempt to undermine the sanctity between visual art and popular culture. .S't-nrlunt/ Sir-(w Sr/mu/ .lluxomn until everyday and that the everyday can be ‘ of the art object is a current trend with Take this idea away with you. however. Sun 5 Mn;
Mackintosh in bloom
Without a doubt Charles Rennie . Mackintosh was a remarkable architect and artist; a genius who lett I Glasgow with outstanding examples of l , architecture and design, and retired to France, worn out by the city’s apathy. Today, ironically, Mackintosh provides rich pickings tor the tourist industry, with Mackintosh merchandise everywhere.
Mackintosh was something at a purist, who believed in the beauty at art rather than its commercial value. His abiding love at organic, natural form bears little resemblance to the garish colours and synthetic materials used to imitate his style today. In his I 1902 lecture he used the Image ot a tlower to represent the creative process instructing his students to ‘otier real flowers springing from your own soul.’ He painted and sketched plants throughout his career, trom early drawings in sketchbooks and watercolours, to various still-lite paintings and textile designs. Organic term was his abiding passion - look at any at his works and there are the tluid lines, circles and curves which
echo plant forms. Botanical beauty Cyclamen. 1917 from Mackintosh Flowers The Botanical Illustrations, part ot the delicate yet robust character architectural designs SUCh ijls H0088 . - this exhibition gives us a valuable the Glasgow University’s outstanding flowers. the rose, synonymous with for an Art low". and the Artist’8 insight into the inspiration and ideas collection, are at the same time the Glasgow Style, had its lush blooms Cottage, MackintOSh'S auent'on {0 = that intormed his WINK. (Salty K3") stylistic and natural. Japonica most otten translated into linear detail extends to the garden and Its Chiddingstone, 1910 and Petunia patterns and potent curves, but all-important landscaping. . , g Mackintosh Flawem is at me Walberswick, 1914 lovingly Mackintosh took things a stage By concentrating on Mackintosh s j "yawn-3,, 4,, galls,” Glasgow mm, 4 interweave colour and line to capture further into textile design. Even in his one consuming 0383")“ — "antral Wm ? Nov.
The List 20 ()ct-?~ Nov I995 71