Tag Archives: Christian Louboutin

Something Old, Something New, Five Exhibitions and Some Shoes

16 Dec

The thing I discovered when doing my gallery crawls is you need to be selective.  Deviate from your list and you’ll never leave the first street so I decided on this route and, with quite a tight time frame, I knew I had to stick to it.

Josh Lilley are currently showing a group exhibition with Analia Saban, Belen Rodriguez Gonzalez, Christof Mascher, Gabriel Hartley, Marita Fraser, Nicholas Hatfull, Nick Goss, Robert Pratt and Ruairiadh O’Connell.  There will be no surprises when I tell you this is another beautiful show – particularly notable is Robert Pratt’s Display Unit which grabs you as soon as you walk through the door.  The seemingly precariously placed pieces of clay on the display unit are Pratt’s body parts, positioned at the correct height, in proportion to his own body.

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Robert Pratt, Display Unit (Pieces of a Man), 2012. Image via www.joshlilleygallery.com

The show gets even better as you go downstairs with works erupting from the ceiling that provide immediate visual impact.  It’s particularly lovely to see a selection of Goss works on paper after his recent solo show which included his more monumental paintings.  Although many of the works in the exhibition have obvious connections through materiality, process, colour, form, expressiveness and so on, Lilley has not attempted to impose a specific theme here which is quite refreshing.  Instead, the gallery has aimed to bring together certain artists – many of whom studied together or have maintained friendships over the years.  Through this, new and unexpected dialogues are initiated and connections made.

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Downstairs at Josh Lilley with Ruairiadh O’Connell’s work in the foreground.  Image via www.joshlilleygallery.com

Next up was Blain Southern.  Sadly, I missed their opening show so this was my first visit to their new Hanover Square gallery – it’s a beautiful, glass-fronted, space, with a very traditional white box aesthetic.  Their current exhibition is Francesco Clemente’s Mandala for Crusoe.

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Clemente at Blain Southern.  Own photograph.

For Clemente’s first show in seven years, they are exhibiting fourteen large-scale paintings, using raw linen, paint, verdigris, silver pigment, mica, oil sticks and lithographic ink, which gather myriad cultural references and merge timeless motifs from Buddhism and Hinduism.   In Eastern spiritual traditions, the mandala is identified as a conduit to a deeper level of consciousness.  Yet, Clemente uses the mandala in unexpected ways uniting it with the banality of everyday life.

One of the strongest works for me was The Dove of War where the dove, a symbol of peace, filled with silhouettes of planes and bombs, flies through a tinged pink sky.  Clemente divides his time between New York and India, feeling a nomadic affinity with the completive visual tradition of both the East and the West and this is clearly brought out in his works.  Not all of the images, however, have the same strength; the choice of imagery isn’t the most exciting and it is sometimes quite crudely applied.

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Francesco Clemente, The dove of war, 2012. Own photograph.

In contrast, I popped into Gimpel Fils to see Richard Smith’s kite paintings.  Smith has long been interested in paintings which work in three dimensions, having created kite works since the early 1970s.  The kite paintings are so successful partly due to their contrasts – the hard poles and the soft canvas, the string and the rope – and meticulous finish.  Known for emphasising the importance of shape, support, colour and surface, these works focus on the physical constitution of painting.  The tenser and more exaggerated they are, the more I find myself enjoying them.

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Kite paintings at gimpel fils. Own photograph.

I strolled round the corner, past the currently closed Gagosian Davies Street and headed to Timothy Taylor, resisting the temptation to walk further down Mount Street to see what Christian Louboutin had in store.

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Louboutin’s Christmas shoe tree.  Image via http://theexhibitionlist.wordpress.com/

Their latest exhibition presents new work by Lucy Williams who has redefined the concept of collage through her mixed media bas-reliefs of unpopulated mid-century Modernist architecture.   It’s difficult to decide if these works are sculptures or collages or even how they are made.  They look so simple but I have no doubt they are ridiculously complex to execute due to the high level of detail and finish.  Williams starts by creating a technical drawing that can take several drafts to get right.  She then picks her materials and starts to build her layers, one on top of each other.  It’s the geometry of the buildings that interests her most and, from a distance, it is the modular structure of her pieces and the predominant patterns that stand out.

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Lucy Williams, the tiled cathedral, 2012. Own photograph.

Although hints of activity can be seen behind closed curtains, the works are always unpopulated.  People could return at any moment but, instead, we are allowed to explore these miniature and obsessively realised worlds in an oasis of calm.  The works are presented on architectural supports, providing the perfect context and framework for these beautiful pieces.

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Pavilion at Timothy Taylor Gallery. Own photograph.

My final stop of the day was the Royal Academy for Constable, Gainsborough, Turner and the Making of Landscape.  This show particularly appeals to me as walking through its doors was like re-entering my Masters – some Sandby watercolours brought back very vivid memories indeed.  The exhibition looks at the formation of landscape painting through John Constable, Thomas Gainsborough and JMW Turner, highlighting the discourses surrounding the Beautiful, the Sublime (mainly Burke this time round) and the Picturesque (championed by William Gilpin) and looking at the changing styles of landscape.  The works by the three key figures are contextualised with paintings by their 18th century counterparts and prints made after 17th century Masters, showing the roots of the tradition which comes from the Carracci brothers, Nicolas Poussin, Salvator Rosa and Lorraine Gaspard Dughet.  They used landscape to inform the drama in their subjects and this was important in shaping what we see in this exhibition.

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Paul Sandby, Wenlock Abbey, Shropshire, The South Transept and Converted Prior’s Lodge Seen from the North Transept, 1779.  Image via www.racollection.org.uk

And, of course, there’s Richard Wilson, often regarded as the father of British landscape, who introduced an aesthetic scaffolding that encouraged a particular view with framing devices to send the viewer’s eye to the subject and referenced the landscape as a useful and enterprising place.

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After Richard Wilson, Engraved by Joseph Wood, The Lake of Nemi, 1764. Image via www.racollection.org.uk

Looking at the shift from the idealised view of the landscape, to a celebration of the particular, imbued with ideas of morals and emotions, the works here show the discovery of the landscape of the British Isles and a move away from the Grand Tour imagery that was so popular.  Specificity of landscape was very important to these artists all of whom took meticulous sketch notes.

The exhibition has been put together in a wonderfully engaging way – the first room looks at the work of Richard Long, Norman Ackroyd, Michael Kenny and John Maine showing the lasting legacy of the three artists on which the show focuses.  This offers a fascinating framework through which to see the exhibition and I hope will quash any silly comments that landscape is boring.  After this bold start, the exhibition continues more as one would expect, charting the progression of landscape and introducing its key themes.

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Richard Long, Heaven and Earth, 2001. Image via http://azurebumble.wordpress.com

Perhaps, most importantly, the exhibition looks at the significance of printmaking in popularising and disseminating the genre.  It does rely heavily on prints but this is certainly a positive thing as it’s rare to see so many excellent works on paper together.  For this reason though, it can sometimes seem quite gloomy – but there’s no choice as these works require low light levels and the walls have been painted to show off the paper (drawings and prints) rather than the canvases.

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Thomas Gainsborough, Romantic Landscape, 1783.  Image via www.telegraph.co.uk

I am deliberately not writing anymore as otherwise I fear I will be at risk of regurgitating my MA.  But, the joy of this exhibition is that it informs so well and specifically that I would urge you to go and learn about the period for yourself.  The RA has not produced a catalogue for this which is a great shame.  Instead, they’ve produced a lovely small exhibition guide that takes the format of their normal student guides.

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John Constable, The Leaping Horse, 1825. Image via www.royalacademy.org.uk

The show is displayed in the Fine Rooms and the Weston Rooms which we’re not so used to but it certainly makes a change.  The big names will no doubt pull in the punters (it’s worth visiting just to see the popular oils that appear later in the show) but this exhibition is so much more than a 19th century blockbuster and many of the works are a rare delight.  It follows the evolution of the tradition of British landscape through 120 works all of which have been sourced from the RA’s own impressive collections.  This is the first Burlington House show to do this in 50 years and illustrates the veritable treasure trove they house.  I’d love to get down there to see the rest.

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Something New is at Josh Lilley Gallery until 10th January 2013, www.joshlilleygallery.com.   Francesco Clemente: Mandala for Crusoe is at Blain Southern until 26th January 2013, www.blainsouthern.com.  Richard Smith: Kite Paintings is at gimpel fils until 12th January 2013, www.gimpelfils.com.  Lucy Williams: Pavilion is at Timothy Taylor Gallery until 11th January 2013, www.timothytaylorgallery.comConstable, Gainsborough, Turner and the Making of Landscape is at the Royal Academy until 17th February 2013, www.royalacademy.org.uk.

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Celebrating a Classy Cobbler: Christian Louboutin at the Design Museum

28 May

Any regular reader of Artista who has laughed at my tottering tales or seen the signature photographs at the ends of posts, will know that I adore shoes.  And so I was possibly even more excited than most about the Christian Louboutin exhibition at the Design Museum as, to say the least, I have a bit of a thing for Louboutin’s.

Louboutin stiletto in the stairwell at the Design Museum. Image courtesy of Luke Hayes and via www.designmuseum.org

Even people who know nothing about shoes will probably recognise a Louboutin from their beautiful red soles that are now known as his signature.  Louboutin is one of those people who has had his fair share of luck – he had no regard for his academic studies and was expelled from school.  He had already begun sketching shoes from an early age; obviously talented, he wanted to make shoes that broke the rules and empowered women.   A job with Charles Jourdan led him to meet Roger Vivier in whose atelier he became an apprentice.  He continued on to design shoes for the likes of Chanel and Yves Saint Laurent; there was no stopping him and, in 1991, he opened his first store – the rest, as they say, is history.  Women all over the world crave a pair of Louboutin’s to ‘enrich’ their lives and their wardrobes.

Christian Louboutin shoes – aaaah….  Image courtesy of Luke Hayes and via www.designmuseum.org

This exhibition is the first UK retrospective of Christian Louboutin’s designs, celebrating his career where he has pushed the boundaries of footwear.  The exhibition looks at the many sources of his creativity – performance, cabaret, fantasy, fairytale, art, architecture…  We are taken on a journey of how a shoe is made from the very first drawing right through to factory production.

Entrance to the exhibition. Own photograph.

The neon-lit entrance, velvet sofas and mirrors all echo the image of the Louboutin brand.  Louboutin’s shoes embody femininity at its most beautiful; in his designs, he understands the way a woman wants to be admired and desired and his shoes, in every conceivable colour, style and pattern, demand attention.  You can’t fail to look at a Louboutin stiletto.  The exhibition is a fashion show.  It is entertainment but somehow doesn’t quite work.

Watching the 3D hologram show featuring Dita von Teese. Own photograph.

There’s a small recreation of the Louboutin Paris atelier that is cluttered yet intoxicating.  But, it’s all a bit too much.  These shoes are beautiful enough not to need quite so much glitz surrounding them.

recreation of Louboutin’s atelier. Own photograph.

Christian Louboutin shoes are sensational, stunning, sublime…  They really are!  And, here, they are displayed and lit in every which way.  The shoes are designed to enhance the female form, to lengthen the leg, to ‘sex’ up an outfit.  A brilliant quote from Louboutin himself about one of his designs summed up the sensuality of his footwear:  “This shoe is very difficult to walk in, other than to go from a taxi to a party, from that party to another taxi, and from the taxi to one’s bed, with small steps, leaning on a man’s arm. Insofar as there exist shoes for every moment of life, from sneakers and flip flops to flippers, I think there should also exist shoes for bed, shoes whose primary function is not walking but the sexual charge they contain. As everyone knows, footwear can be highly erotic.”

 

Special effects at the Design Museum. Own photograph.

One area of the exhibition is devoted to fetishes although my personal opinion is that most of these shoes look more painful than erotic.  I found the shoes in the main exhibition more sensual and sexy than those in here.  Displayed on pedestals in this dark, prohibited space, alongside photographs by David Lynch, the fetish shoes are not meant to be walked in; they are subversive objects designed to fulfil dark fantasies.

Fetish shoes. Own photograph.

For me, this exhibition could so easily have been better; the shoes are beautiful but I could visit the Mount Street store to see them anytime to better effect.  Overall it was a bit underwhelming; it does reveal Louboutin’s character and the history behind his now world-famous brand but I left disappointed.

The story of Christian Louboutin. Own photograph.

I don’t think the exhibition did the shoes justice.  There is no doubt that people who would not normally visit the Design Museum will rush to this show and I was surprised by the lack of merchandise in the shop.  Other than the quite pricey catalogue and a few bits and bobs (including fake tattoos) there are no postcards or greetings cards specific to the exhibition.  I felt they were missing a trick or two.

I know not everyone agrees with the concept of women in Louboutin’s or like them but I not only find them divine, classy and elegant, but also comfortable!  They are exquisite and if you like shoes then you will probably enjoy this show but I expected to enjoy it a lot more.  Writing this and visiting the exhibition has certainly given me a serious yearning.  It may be time for a visit to Mount Street!

Christian Louboutin is at the Design Museum until 9th July 2012, www.designmuseum.org.

The Shoe as Art (heaven!)

4 Nov

As you will have realised from reading Artista, I have a serious weakness for shoes.  This isn’t a new addiction either.  During my school days, I once donned Barbarella-inspired self-constructed silver boots for a fantasy fashion show.  Nowadays, practicality plays more of a part (well, slightly) and I am usually found tottering around Mayfair in stilettos.

My Barbarella-esque shoes on show a few years back. Own photograph.

So, I am devastated (and, no, that’s not an exaggeration) that I am still ill at home and can’t visit this exhibition myself.  It is surely one that would make my top 10 list for this year as it is an exhibition of spectacular shoes.  Just because I haven’t been able to visit in person, doesn’t mean I haven’t been able to indulge and spend an inordinate amount of time salivating over the photographs.

Shoes for Show in Brick Lane. Image via www.thisismission.com.

High heels date back to the Egyptian times when the upper classes were thought to have worn a form of raised heel for ceremonial purposes.  Over time, these shoes developed and progressed.  In the 15th century, the chopine could be seven or eight inches high acknowledging wealth or social standing.  The formal invention of the heel is thought to trace to Catherine de Medici who felt insecure when compared to the taller mistresses of her then fiancé, the Duke of Orléans.  To give her more allure, she donned two inch heels and well and truly ignited the fashion.  Now, heels are a familiar part of our culture, often in the press for their controversial designs or with safety warnings as models topple on the catwalk.

Beyonce’s shoe from the Rule the World video, designed by Gareth Pugh.  Image via www.thisismission.com. 

Organised by online shoe store, www.javari.co.ukShoes for Show: The Sculptural Art of High Heels is an exhibition after my own heart, displaying a selection of high couture designs from private collections dating back to the 1850s – shoes that were designed to be appreciated for their beauty, not their function.  An idea that I’ve long though should apply to shoes anyway.  The show aims to “focus on [the shoes’] beauty by placing them in the context of a gallery as sculptural pieces of art.”

Catwalk shoes in the exhibition. Image via www.thisismission.com. 

The word stiletto comes from the Italian for a pointed dagger or knife and,the exhibition includes Roger Vivier’s classic 1950s shoe for Dior, often credited with being the first stiletto.  Fittingly, Vivier was studying at art school and planning to be a sculptor when friends invited him to design a collection of shoes.  This surely shows the sculptural element of these phenomenal designs.  There is no doubt that these designers are artists.  Yantourny, for example, only made shoes as art objects with each work taking two to three years.  His only aim was to create a work that could be admired by future generations.  Many of these shoes are designed to make a statement such as, Rupert Sanderson’s designs for Verdi’s Aida at the Royal Opera House with figures from Greek mythology creating the undercarriage of the shoe.  To be worn by Princess Amneris, they were designed to stand out like diamonds on a beach full of pebbles.

Rupert Sanderson for the Royal Opera House.  Image via www.thisismission.com. 

Christian Louboutin (the god of shoes) designed jewel encrusted ballet slippers for the English National Ballet in June of this year; they are extraordinary, an innovative play on the verticality of the ballerina’s pointe shoe.  Identified by his trademark red soles, the shoes defy belief…and gravity.  He “could not help being inspired by English National Ballet…after all…isn’t the classical dancing ballet slipper the ultimate heel?  The heel which makes dancers closer than any other woman to the sky, closer to heaven.”

Christian Louboutin and Daphne Guinness shoes. Image via www.thisismission.com. 

These one-off designs are certainly artforms, capturing a range of designers’ sensational creativity.  Nicholas Kirkwood’s Alice in Wonderland heels designed for the spectacular window displays at Printemps in Paris (that I was lucky enough to see last year) involved the designer travelling the length and breadth of the UK’s car boot sales to find trinkets for adornment.

Nicholas Kirkwood for Printemps.  Image via www.thisismission.com. 

For those of you who scoff and say is it art?  For me, there is no doubt.  The exhibition presents ‘sculptures’ that are a clever fusion of fashion, art and design and inspire a powerful need in visitors to go shopping.  Even just viewing from my sofa, I’m having some serious shoe cravings.

Make sure you’re wearing your best heels to strut along this weekend.

Shoes for Show is at the Loading Bay, 91 Brick Lane only until 8th November 2011, http://www.trumanbrewery.com/cgi-bin/exhibitions.pl.

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