Friday, August 08, 2014

Over Your Cities Grass Will Grow

This autumn the Royal Academy will have a major retrospective exhibition for Anselm Kiefer.  Back in the eighties, when I was a teenager and first discovering contemporary art, Kiefer was a really big name.  In fact there were a group of German artists that seemed almost as well known as the Americans: Beuys, Baselitz, Polke, Richter (these last two had a nice joint show in London earlier this year).  In those days Robert Hughes would write witheringly about the latest stars of the New York art scene but considered Kiefer the best painter of his generation.  Then came Simon Schama's Landscape and Memory (1995) - familiar I'm sure to readers of this blog - which discussed Kiefer's work in relation to the German forest.  But since then it has seemed as if he has faded into the background somewhat as waves of new artists have come to the fore.  When I have thought of him, it has been to imagine him still holed up in the south of France, where he moved in 1992, gradually turning an old silk factory and its surroundings into a vast Gesamtkunstwerk.  However, watching Sophie Fiennes' documentary on Kiefer recently, Over Your Cities Grass Will Grow (2010), it was obvious that he remains a massive presence in the global art world.  The film ends with his relocation to Paris and Kiefer looking forward to easy motorway access to Germany and a large studio that had once been the depository for the La Samaritaine department store.

In 2008 Sean O'Hagan went to interview Keifer for The Guardian, apprehensive about the artist's reputation for high seriousness.  Kiefer, 'as Schama memorably puts it, 'doesn't do droll, he does the big embarrassing stuff, the stuff that matters; the epic slaughters of the world, the incineration of the planet, apocalypse then, apocalypse now; the fragile endurance of the sacred amid the cauterised ruins of the earth.''  O'Hagan met him in Paris where he was working on ten seascapes simultaneously - ''When I started these paintings just before Christmas, I had the initial concept of painting the source of the Rhine. Now, you can see the Rhine is gone completely. There is only sea."  Despite its vast scale, the Paris studio was proving too small for him.  Meanwhile La Ribaute, the studio complex and environmental installation near Barjac that Kiefer had worked on for eleven years, was continuing to take shape in his absence.  O'Hagan travelled south to see it.  'Surrounded by a high wire fence, and accessed only by a huge steel security gate, it is a vast site that took me an afternoon to wander through. On one side of the hill on which stands his former studio, a converted 17th century silk factory, lies the valley of Babel-like towers, out of whose innards sprout plants resembling giant trioxids. It is utterly unreal and not a little unsettling, part post-apocalyptic city, part sci-fi film set.'

As you can see here in the trailer for Over Your Cities Grass Will Grow, La Ribaute was both a factory for producing monumental landscape painting (a forest scene spread with ashes), and an evolving work of land art itself.  Philip French described the impression the film conveys in his review:
Fiennes's camera tracks slowly around its bunkers and underground passages with their pools of water, shattered urns, piles of broken glass, puzzling numbers on the walls that evoke the tattoos of concentration camp inmates and so on. Her visual style brings to mind the lengthy contemplative shots in Tarkovsky's Stalker, Nostalgia and The Sacrifice, and we think of blitzed cities, battlefields, the death camps, the post-industrial world and the impermanence of civilisation. The film's title is a quotation from the Bible and one inevitably remembers Eliot's line in The Waste Land: "These fragments I have shored against my ruins."
Perhaps the most memorable scene comes near the end where the camera rises slowly to reveal a vista of concrete towers under grey skies.  Earlier we see Kiefer directing their construction - he does it all by eye.  Two similar towers were built for an installation in the courtyard of the Royal Academy in 2009 and a laser was installed to detect the slightest movement and sound an alarm if it looked like they might be about to collapse (it never went off).  Fiennes says in the commentary to the film that this ruined landscape reminds her of modern war zones like Gaza.  It is sad to think that she would have been referring then to the 2008 conflict while as I write this there is a new war creating new ruins.  Now, again, we are watching footage of twisted metal, shattered glass, tunnel networks and concrete towers: the destruction of real buildings and real people's lives.

Friday, August 01, 2014

The Journey Through Wales

Medieval manuscript of The Journey Through Wales in the British Library

In the spring of 1188 Baldwin, Archbishop of Canterbury, set out to travel through Wales recruiting men for the Third Crusade.  He was accompanied by Gerald, Archdeacon of Brecon, whose highly readable account of their journey, Itinerarium Kambriae (The Journey Through Wales, translated by Lewis Thorpe), contains many interesting references to nature and topography.  I have always liked the abecedary form (as in, for example, Kevin Jackson's collection of alphabetical essays Letters of Introduction) and have used it here to list some of the places, sites and unusual natural phenomena Gerald wrote about.  What follows therefore is an A-Z of the Welsh landscape towards the end of the twelfth century.

A is for Arthur's Chair.  A few days after setting out from Hereford, Gerald and Baldwin had reached Brecknockshire.  He describes there a 'lofty spot most difficult of access, so that in the minds of simple folk it is thought to have belonged to Arthur, the greatest and most distinguished King of the Britons'.  Cadair Arthur was the name given to this place, formed by two peaks (Pen y Fan and Corn Du), and at the summit there was a well-shaped pool, fed by a spring, in which trout were sometimes seen.  Gerald mentions King Arthur at several points, drawing on what Geoffrey of Monmouth had written in his History of the Kings of BritainMore intriguing are descriptions he gave in two later books of the discovery of Arthur's tomb, in the grounds of Glastonbury Abbey (Glastonbury, he writes, was once called Ynys Gutrin, 'the Island of Glass, no doubt from the glassy colour of the river which flows around it in the marshland.')
B is for the island of Barry. 'In a rock by the sea where one first lands on the island there is a small crack. If you press your ear to it, you can hear a noise like blacksmiths at work.'  As will be seen below, Gerald usually has stories to associate with unusual landscape phenomena, but this one is simply recorded for what it is.  'One would well imagine that a sound of this sort would come from the sea-waters rushing into hidden orifices beneath the island, but it is no less loud when the waves draw back, and it can be heard just as well when the shore is dry as when the tide is up.'
C is for Caerleon.  The ancient City of the Legions, Caerleon 'is beautifully situated on the bank of the River Usk.  When the tide comes in, ships sail right up to the city.  It is surrounded by woods and meadows.  It was here that the Roman legates came to seek audience at the great Arthur's court.'  Gerald describes a lot more of the Roman city than can be seen today, including its impressive walls.  He found evidence of immense palaces, 'a lofty tower, and beside it remarkable hot baths, the remains of temples and an amphitheatre.' 
D is for St. David.  According to Gerald, this devout man (said to have been the uncle of king Arthur), 'preferring the eremetical existence to the pastoral one', moved the archbishopric from Caerleon, the City of the Legions, to 'a remote corner of the country, looking out towards the Irish Sea.  The soil is rocky and barren.  It has no woods, no rivers and no pasture-lands.  It is exposed to the winds and to extremely inclement weather.'  It was this alleged archbishopric, independent of Canterbury, that Gerald  himself strove unsuccessfully throughout his life to re-establish.  There was a story that Gerald includes in which St. David himself changed the landscape: one day 'in full view of an astonished congregation, the ground on which he was standing rose up in the air.'
E is for Eyri. 'I must not fail to tell you about the mountains which are called Eyri by the Welsh and by the English Snowdon, that is the Snow Mountains.'  Eyri means haunt of the eagles, and Gerald writes of one remarkable eagle that perches on a particular stone every fifth feast day, 'hoping to satiate its hunger with the bodies of dead men, for on that day it thinks that war will break out.  The stone on which it takes its stand has a hole pierced nearly through it, for it is there that the eagle cleans and sharpens its beak.'
F is for a floating island.  This can be found in the mountains of Snowdonia where the strong winds continuously blow it from one bank of a lake to another.  'Shepherds are amazed to see the flocks which are feeding there carried off to distant parts of the lake.  It is possible that a section of the bank was broken off in times long past and that, bound together in a natural way by the roots of the willows and other shrubs which grow there, it has since become larger by alluvial deposits.'
G is for the Golden Rock. This is 'a rocky eminence that dominates the River Severn' which has a gold sheen when struck by the sun. Gerald thinks that 'if someone who was skilled in such work would only dig down into the mineral deposits and penetrate the very entrails of the earth, he might extract sweet honey from the stone and oil from the rock.'
H is for hawk.  At Haverfordwest, the falcons are 'remarkable for their good breeding, and they lord it over the river birds and those in the open fields.'  Gerald concludes one chapter of the book with the story of how one of these noble birds killed Henry II's carefully bred Norwegian hawk.  'As a result from this year onwards Henry II always sent to this region at nesting-time for some of the falcons which breed on the sea-cliffs.  Nowhere in the whole kingdom could he find more noble or more agile birds.  That is enough about falcons.  Now I must return to my journey.' 
I is for the mountains of Ireland.  These can be seen on a clear day from St David's and Gerald writes that when William Rufus came to this spot and looked across the sea from the headland he said "I will collect a fleet together from my own kingdom and with it make a bridge, so that I can conquer that country."  Gerald himself had been in Ireland for a year, travelling there as chaplain and adviser to Prince John in 1185. The Journey Through Wales was Gerald's third book, written after two books on Ireland.
J is for Jerusalem. Gerald had himself taken the cross and his whole party expected to leave for the Holy Land when their mission in Wales was complete.  In 1189 he and Archbishop Baldwin sailed for France but Gerald was sent back to England by the new king Richard, following the death of Henry II.  Baldwin went on and died at the siege of Acre in 1190.  Two years earlier, as he and Gerald approached Bangor along a valley with many steep climbs, they had dismounted in order to practise walking in the exhausting conditions they expected to find on the road to Jerusalem.  'We walked the whole length of the valley and we were very tired by the time we reached the farther end.  The Archbishop sat himself down on an oak-tree, which had been completely uprooted and overturned by the force of the winds, for he needed to rest and recover his breath.'  He asked for a tune to soothe his tired ears and a bird in a near-by coppice started to sing.
K is for the knight and the King.  Gerald tells of 'a knight from Brittany' who was sent by Henry II to see how the land round Dinevor Castle was fortified.  He was conducted by a Welsh priest who took him along the most difficult and inaccessible paths.  'Whenever they passed through lush woodlands, to the great astonishment of all present, [the priest] plucked a handful of grass and ate it, thus giving the impression that in time of need the local inhabitants lived on roots and grasses.'  The knight reported to the King that the land was uninhabitable and the King made the local Welsh leader swear an oath of fealty but left him to his own affairs.
L is for Llanthony. Gerald praises the location of this monastery in the vale of Ewias, so suitable for a life of contemplation.  'As they sit in their cloisters in this monastery, breathing the fresh air, the monks gaze up at distant prospects which rise above their own lofty roof-tops, and there they see, as far as any eye can reach, mountain-peaks which rise to meet the sky and often enough herds of wild deer which are grazing on their summits.'
M is for Manorbier.  Gerald devotes a whole passage to the beautiful landscape surrounding the fortified mansion of Manorbier, visible from a distance on a hill near the sea.  'You will not be surprised to hear me lavish such praise upon it, when I tell you that this is where my family came from, this is where I myself was born.  I can only ask you to forgive me.'  He mentions a fish pond, an orchard, and a ready supply of wheat and wine.  'A stream of water which never fails, winds its way along a valley, which is strewn with sand by the strong sea-winds.'  There is a rocky headland: 'boats on their way to Ireland from almost any part of Britain scud by before the east wind, and from this vantage-point you can see them brave the ever-changing violence of the winds and the blind fury of the waters.'
N is for Newgale Sands Here in the winter of 1171-2 a great wind blew 'with such unprecedented violence that the shores of South Wales were completely denuded of sand, and the subsoil, which had been buried deep for so many centuries, was once more revealed.  Tree-trunks became visible, standing in the sea, with their tops lopped off, and with the cuts made by the axes as clear as if they had been felled yesterday.  The soil was pitch-black and the wood of the tree-trunks shone like ebony.'  This wind was so fierce that it blew fish into the bushes and high rocks, and people came down to collect them. 
O is for one-eyed fish. A lake among the mountains of Snowdonia 'abounds in three different kinds of fish, eels, trout and perch, and all of them have only one eye, the right one being there but not the left.  If the careful reader asks me the cause of such a remarkable phenomenon, I can only answer that I do not know.'
P is for the two pools that burst their banks.  This happened in the Elfael district on the night that Henry I died (1st December 1135).  One was artificial and its water simply rushed down the valley leaving it empty.  'But, remarkably enough, the natural lake reformed itself, with all its fish and whatever else lived in it, in a certain valley not more than two miles away.'   
Q is for quicksand.  Gerald and Baldwin took the coast road from Margam Abbey, fording the river Avon, where they were delayed by the ebbing water, and approached the river Neath.  There they encountered quicksand where Gerald's own pack-horse 'was almost sucked down into the abyss.'  They got him out, but 'not without some damage done to my books and baggage.'  Hurrying made things worse - 'it is better to advance more slowly and with great circumspection over such dangerous terrain as this.'  Eventually they made it to the Neath which they crossed in a boat since it was too dangerous to ford, 'for the passages through the river change with every monthly tide and they cannot be located after a heavy fall of rain.'
R is for Rhyd Pencarn.  Near Newport, Gerald describes a stream that is 'passable only be certain fords, more because of the way in which it has hollowed out its bed and of the muddiness of the marshland which surrounds it than through the depth of its waters.'  Rhyd Pencarn, the 'ford beneath the hanging rock', was the subject of a prophecy by Merlin Sylvester (Gerald believed there had been two Merlins in Wales - this one was Scottish).  Merlin had said that the Welsh would not be beaten by a strong man riding over it with a freckled face, a description that matched the appearance of Henry II.  When Henry did cross the ford in 1163, the Welshmen who watched his approach knew that they would be defeated.  
S is for the magic stone of Anglesey.  This stone in the shape of a human thigh-bone will always return no matter how far it is taken away.  Henry I tested it by throwing it into the sea, attached by chains to a much larger stone - the next morning it was back in its usual place.  'It is also said that if a couple come to have intercourse on this spot, or near by, which they do frequently, great drops of sweat drip from the stone.'  As will be clear by now, Gerald's Wales is scattered with strange rocks and stones.  Also on the island of Anglesey you can find Listener's Rock, and 'if you stand on one side and shout, no one on the other side can hear you.' 
T is for the river Teifi.  In describing this 'noble river', Gerald writes a lengthy digression on the habits of beavers, for this is the only place in Wales where they can be found.  These clever creatures plan their lodges so that they just protrude from the water, building several stories linked with connecting doorways.  'As the years pass and the willow-wands keep on growing, the lodge is constantly in leaf and becomes, in fact, a grove of willow trees, looking like a natural bush from the outside, however artificially constructed it may be within.'
U is for the river Usk Gerald says that salmon abound there in summer (whereas the Wye has them in winter).  The finest salmon in Wales can be found in the river Teifi and there is a spot there called Cenarth Mawr where a waterfall roars unceasingly and the fish leap the height of a tall spear into the concave rock above.  When Gerald and his companions reached Usk castle and preached the Crusade a large number of men took the cross, including robbers, highwaymen and murderers.  The road then took them to Newport via Caerleon and they had to cross the river Usk three times.
V is for the Valley of Roses. This was the site chosen for the cathedral of St David's.  Gerald observes that 'a better name for it would be the Valley of Marble, for it is in no sense rosy or remarkable for roses, whereas there are plenty of rocks all over the place.'  One of these rocks was used as a bridge over the River Alun and called Llech Lafar, the Talking Stone. One of the prophecies of Merlin held that a king of England who had just conquered Ireland would die as he walked over this bridge.  As he had at Rhyd Pencarn, Henry II defied this superstition by boldly walking forward.  Calling Merlin a liar, he entered the cathedral to pray and hear Mass.
W is for the waterfowl of Brecknock Mere.  There was an old saying that the rightful ruler of the land could order these birds to sing.  One winter Gruffydd ap Rhys ap Tewdwr (a great uncle of Gerald) did just this.  The water of this lake 'sometimes turns bright green, and in our days it has been known to become scarlet, not all over, but as if blood were flowing along certain currents and eddies.  What is more, those who live there sometimes observe it to be completely covered with buildings or rich pasture-lands, or adorned with gardens and orchards.  In the winter months, when it is covered with ice, and when the surface is frozen over with a smooth and slippery coat, it emits a horrible groaning sound, like the lowing of a vast herd of cattle all driven together in one place.  It is possible, of course, that this is caused by the cracking of the ice and the sudden violent eruptions of enclosed pockets of air through vents imperceptible to the eye.'
X is for Exmes.  Gerald's digressions occasionally take him outside Wales itself - Exmes is actually a castle in Normandy.  Near it there is a certain pool whose fish fought each other so violently on the night Henry II died, 'some in the water and some even leaping in the air, that the noise which they made attracted to the spot a vast crowd of local people.'  This story parallels that of the two pools in Wales (see 'P' above), associated with the death of Henry I. 
Y is for Ynys Lannog. This place, Priest's Island in English, lies off the coast of Anglesey.  Gerald says that if the hermits who live there quarrel, a species of mice who live there will come and consume most of their food and drink 'and befoul the rest.' When the argument is over the mice disappear. 'No women are ever allowed on the island.'
Z is for Zeuxis.  The Journey Through Wales ended where it began, in Hereford.  After completing his account, Gerald wrote a second, shorter book, The Description of Wales.  In its Preface he says that some readers of his earlier topographical writings took exception to the choice of subject matter.  'They see me as a painter who, rich in precious colours, the master of his art, a second Zeuxis, strives with great skill and industry to portray a humble cottage or some other subject by its very nature base and ignoble, when they were expecting me to paint a temple or fine palace.'  But Gerald, on the contrary, was proud of having adorned the rugged country of Wales with 'all the flowers of my rhetoric'.

Saturday, July 26, 2014

No other tent but the sky

Walter Crane's 1907 frontispiece to
Robert Louis Stevenson's Travels with a Donkey in the Cévennes (1879)

Here is Robert Louis Stevenson, settling down with his donkey for a night in the Valley of the Mimente.
A hollow underneath the oak was my bed. Before I had fed Modestine and arranged my sack, three stars were already brightly shining, and the others were beginning dimly to appear. I slipped down to the river, which looked very black among its rocks, to fill my can; and dined with a good appetite in the dark, for I scrupled to light a lantern while so near a house. The moon, which I had seen, a pallid crescent, all afternoon, faintly illuminated the summit of the hills, but not a ray fell into the bottom of the glen where I was lying. The oak rose before me like a pillar of darkness; and overhead the heartsome stars were set in the face of the night. No one knows the stars who has not slept, as the French happily put it, à la belle étoile.  [...]
All night a strong wind blew up the valley, and the acorns fell pattering over me from the oak. Yet, on this first night of October, the air was as mild as May, and I slept with the fur thrown back.
I was much disturbed by the barking of a dog, an animal that I fear more than any wolf. [...]  I was wakened next morning (Wednesday, October 2nd) by the same dog - for I knew his bark - making a charge down the bank, and then, seeing me sit up, retreating again with great alacrity. The stars were not yet quite extinguished. The heaven was of that enchanting mild grey-blue of the early morn. A still clear light began to fall, and the trees on the hillside were outlined sharply against the sky. The wind had veered more to the north, and no longer reached me in the glen; but as I was going on with my preparations, it drove a white cloud very swiftly over the hill-top; and looking up, I was surprised to see the cloud dyed with gold. In these high regions of the air the sun was already shining as at noon. If only the clouds travelled high enough, we should see the same thing all night long. For it is always daylight in the fields of space.
The young Richard Holmes, following the route described by Stevenson, spent the night at this spot in 1964.  'I made a little fire among the rocks by the river, and slept in the doorway of an isolated barn.  My diary notes "a solitary star below the door-lintel, a little rain, and an occasional blink of lightning over the oak trees"' (Footsteps,1985).  In an earlier post here I referred to the notion of the literary pilgrimage and Richard Holmes' practise of 'footstepping' his biographical subjects.  I also quoted another description of a night à la belle étoile from his travels on the trail of Stevenson: 'I slept out that night under an outcrop of pines, facing east on a slight incline, with the light of the Costaros far way to my left. ... Only once, waking, I drank two ice-cold mouthfuls of water from my can and, leaning back, saw the Milky Way astonishingly bright through the pine tops, and felt something indescribable - like falling upwards into someone's arms.'

Nowadays the path taken by Stevenson and Modestine can be followed on the chemin de Robert Louis Stevenson (GR70).  As one travel site says, 'Stevenson often slept out under trees in a prototype sleeping bag. You enjoy wholesome food in welcoming, en-suite accommodation as you trek across southern Auvergne and northern Languedoc with just your light backpack'.  A quick Google will take you to self-published travel accounts and shorter posts from tourists who have done this long distance walk (of course if I ever do it, you will be reading about it here).  Books too will continue to appear: as Nicholas Shakespeare wrote in The Telegraph, 'if you had visited the Cévennes in September 1994, you might have encountered a demented, rain-sodden Edinburgh schoolteacher whacking along a donkey and shouting out "lumps of poetry" about the effects of travel.  Christopher Rush was on a quest to recover himself after losing his wife to cancer a year before ...To Travel Hopefully breaks a 10-year silence to describe how Rush returned to "authorial normality" by following in the footsteps of his hero Robert Louis Stevenson.' 

And so the landscape is continually over-written by travellers carrying copies of the accounts of previous travellers.  But Stevenson himself was walking with a copy of Peyrat's history of the Protestant Camisard Revolt of 1702-05 (an episode with some parallels to the resistance of the Scottish Covenanters).  On that night of October 1st, 1878, gazing at the night sky from the 'hollow underneath the oak' , he could imagine two of the romantically-named historical figures from the Camisard wars looking up at the same sight.  'These same far-away worlds, sprinkled like tapers or shaken together like a diamond dust upon the sky, had looked not otherwise to Roland or Cavalier, when, in the words of the latter, they had ‘no other tent but the sky, and no other bed than my mother earth.’' The same is true today for all those who walk GR70 in the hope of getting closer to Stevenson, or the fresher, but now half-a-century-old footsteps of the young Richard Holmes: the stars at least remain unchanging.

Sunday, July 20, 2014

Dawn over the Gulf

Gerardo Dottori, Self Portrait, (1928)
Comune di Perugia

This summer at the Estorick Collection you can see a thought-provoking exhibition of aerial landscapes in Gerardo Dottori: The Futurist View.  Dottori was born in 1884 and his early work encompassed Divisionism (Trees of the Wood (1906), where dabs of paint capture the effect of dappled light) and Symbolism (Triptych of the Trees - The Survivors (1909-10), with its dark forms set against an extraordinary swirling sky in green, grey and sulphurous yellow).  He first started painting in a Futurist style around 1912 but really came to prominence in the late twenties as a leading exponent of aeropittura, modernist painting inspired by the speed and motion of flight, celebrating the role of the pilot and depicting the landscape far below in new ways. 'To fly,' he wrote in 1931, 'means to open and to ventilate the imagination.'  At this time the aeroplane was increasingly identified with war and the kind of bombing visited on Guernica, but Dottori developed a spiritual vision in which there is no sign of this destructive power.  Instead the curvature of the earth is exaggerated and rooftops, wooded hills and deep blue lakes are stretched into idealised forms.

Gerardo Dottori, Ascending Forms (or Ascending Forces), 1930
Comune di Perugia

Dawn over the Gulf (1935), Umbrian Lake (1942), Lake-Dawn (1942), Umbrian Spring (1945)...  paintings like these formed a body of work which for all their abstract qualities were intended to celebrate a particular landscape.  In Dottori's 'Umbrian Manifesto of Aeropainting', he described himself as 'a passionate Umbrian who adores his land.'  According to Massimo Duranti, writing in the exhibition catalogue, Dottori's 'aspiration was to transform the terrestrial landscape into paradise by placing it outside time and space, and by elevating it towards the sky - the opposite approach to that of the Umbrian Renaissance painters, who had pulled the sky down to the ground.'  This paradise has no signs of modern life: actual people are invisible from so high up.  Place is reduced to space and then expanded so that we are no longer simply looking into a picture plane.  Dottori saw circles and gentle ascending curves in the Umbrian landscape that suggested the possibility of this all-embracing view.  'I compel viewers to place themselves with me in the centre of the aeropainting in order to dominate it and experience its totalitarian envelopment' ('e viverla nella sua rotondità totalitaria').  Art historians have taught us to see the elevated perspective as an expression of power and Dottori's language certainly sets alarm bells ringing.  Having recently read Lucy Hughes-Hallett's biography of D'Annunzio, The Pike, I found it hard to view this exhibition without wondering how far the paintings expressed strains of mystical idealism that were being exploited by the Fascists.

Gerardo Dottori, Lake-Dawn, (1942) 
Collezione Fondazione Cassa di Risparmio di Perugia

In the exhibition catalogue Massimo Duranti is keen to focus on the paintings rather than the wider politics of Futurism.  'One must briefly consider here the relationship between Dottori and Fascism, which has been analysed in great detail on many occasions,' he writes (this extensive analysis will not be familiar to many British readers I suspect).  He goes on to say that whilst Dottori 'painted a number of apologetic works for the regime', his adhesion to Fascism 'may be described as 'dispassionate' and not uncritical on occasion.'  Duranti complains that some critics still equate Fascism and Futurism ('expecially in the United States') and of course he is right that this would be too reductive, not least because any equation would need to factor in a third term: Flight.  'Flying and Fascism' is discussed at some length in Robert Wohl's wonderfully illustrated book, The Spectacle of Flight, where he quotes Mussolini: 'Flying must remain the privilege of an aristocracy; but everyone must want to fly, everyone must regard flying with longing'.  The Futurist obsession with flight begun before the First World War but became central to its painting poetry in the thirties (the exhibition includes a portrait of poet Franca Maria Corneli, author of L’aeropoema futurista dell’Umbria, 1943).  Dottori's continued to produce aerial landscapes after the war, less experimental as he grew older and less dependent on the idea of flight.  In paintings of Lake Trasimeno from a high vantage point he was returning to views he had first seen as a youth during excursions into the local mountains, long before he knew what it was like to pass over it in an aeroplane.

Gerardo Dottori, Virginal Umbria, 1949
Collezione Fondazione Cassa di Risparmio di Perugia
Images used here courtesy of Estorick Collection 

Saturday, July 19, 2014

New Western Landscapes

Rebecca Solnit published two essays on contemporary American landscape photography in Creative Camera magazine, in 1993 and 1998, and they were reprinted together in her collection As Eve Said to the Serpent.  Both begin with some historical context: 'American landscape photography is grounded in both the scenery and ideology of the immigrant's West.'  The photographers who worked for the U.S. Geological Survey were only the first to concentrate on landforms rather than nature.  Carleton Watkins portrayed Yosemite as a virgin wilderness outside time, but his work was partly financed by photographs of the nearby gold mines.  Ansel Adams is also defined by these images of pure, unpeopled landscapes - an aesthetic that 'has dwindled into calendar pictures and coffee-table books'.  Meanwhile, landscape may have featured sometimes in the work of the great twentieth century documentary photographers like Robert Frank and William Eggleston, but their subject was always essentially social commentary.  It was only in the seventies that landscape once again became an important theme in American photography, following the seminal New Topographics exhibition curated by William Jenkins in 1975.  I have listed below the photographers Solnit discusses from the subsequent twenty years with brief comments pertaining to their work in that period.  Perhaps someone could ask her to write an essay* covering the next two decades... 
  • Robert Adams - the major survivor from the New Topographics group whose 'pessimism about culture's impact on nature has evolved into a broader melancholy.'  
  • Mark Klett - part of the Rephotographic Project that returned to document the sites originally photographed for the U.S. Geological Survey; his images are not 'elegies for a raped landscape', instead they show how the West can be Sublime even with modern additions like a TV antenna.
  • Robert Dawson - a documentary photographer whose work describes 'the ecological and social complexity of the California landscape'.  There is a Design Observer article by Mark Klett on the Water in the West project that Dawson founded with Ellen Manchester.
  • Peter Goin - a Water in the West photographer whose 'Nuclear Landscapes is an anthology of deadpan images of nuclear-war production sites.'  Solnit has some reservations about this - the 'captivity' of such work within the art world may undermine its educational value.
  • Richard Misrach - a photographer greatly admired by Solnit and whose work features in another of her essays, 'Scapeland', his 'lush documents of political catastrophe point out that politics has invaded the landscape.'
  • Linda Connor - focusing on 'manifestations of the spiritual on the land', she is, like Misrach, a photogapher with whom Solnit has collaborated (an encounter with Connor's work in 1986 'opened the door' to a new understanding of landscape and representation).
  • Meridel Rubenstein - her Critical Mass project on Los Alamos, the birthplace of the atom bomb, is deeply Solnitesque (is there such a word yet?) and features in another excellent Solnit essay, 'Lisa Meitner's Walking Shoes.' 
  • Masumi Hayashi - her images of the Japanese internment camps comprising mosaics of narrow-angle snapshots 'seem to address the reconstructedness of memory, the fractures of truth'.
  • Zig Rising Buffalo Jackson - his photographs of signs on the borders of Indian reservations expose the arbitrariness of any boundaries, 'testimony that the story is invisible and the sign has only begun to tell you where you are.'
  • Anthony Hernandez - like Misrach, he produces 'gorgeous images of the bleakest parts of American culture' but the focus for Hernandez is on the poor and disenfranchised, as in his series Landscapes for the Homeless   
  • Cynthia Rettig - her photographs of family vacations at an artificial lake near the Hoover Dam, where shooting and gun play was all part of the fun, recall the original conquest of the West: 'people repeating a history they cannot remember at a vast lake that is itself the result of manipulating the landscape.'

* NB: Rebecca Solnit is so prolific that she may have written a new survey on landscape photography somewhere, but if so I can't see it on the list of essays on her website...  Another place to keep up with her writing is the fuck yeah Rebecca Solnit tumblr. 

Saturday, July 12, 2014


I have just finished the Jim Crace novel Harvest: 'Sometime in the pre-industrial period, an isolated and self-sufficient English village finds its common fields stolen for enclosure as collective agriculture yields to remotely-owned pasturage: "the sheaf is giving way to sheep."'  This summary of the story's background is from a review in the Independent, which praises Crace for his descriptive powers: 'No writer can match him for pin-sharp specificity in his rapt close-ups of rural life ... yet the village's unanchored quality matters hugely – even though the visiting map-maker "Mr Quill" seeks to sketch and shape it into a place ripe for reason, and for business.  Where are we, and when? Details of clothes, crops and rituals leave a centuries-wide window. But for all its timeless, folk-tale qualities, this village has a solid location. From Tudors to Victorians, land enclosure in England enacted, county-by-county and field-by-field, the "tragedy of the commons", as private interests claimed control of resources once responsibly shared by all.  In England's case, the sheep ate up the men – Thomas More's words in Utopia (1516). So Harvest takes place nowhere, and everywhere.'

In the clip above you can see Crace read a passage in which the book's narrator, Walter, tries to create a garden and finda that the land needs to be worked: 'it does not wish us to stand back and comment on its comeliness or devise a song for it.  It has no time to listen to our song'.  There are many such moments that would interest readers of this blog. One of my favourite moments in the book is a description of the making of maps.  Walter is helping out by preparing and stretching vellum and is fascinated by the sketches that the man the villagers call Mr Quill has 'ennobled' with colour, 'just shapes and lines and colouring' with no lettering added as yet.  In the absence of language, they remind Walter of the natural patterns in nature.
'I've seen equally compound patterns, no less ineffable than these, when I've peeled back bark on dying trees, or torn away the papering on birches. I've seen them sketched by lichens on a standing stone, or designed by mosses in a quag, or lurking on the under-wing of butterflies.  I've found these ordinary abstracts in the least expected places hereabouts: I have only to lift a stone, or turn some fallen timber in the wood, or reverse a leaf.  The structures and the ornaments revealed are made purposeful simply by being found.'
Harvest had a lot of publicity last year because it was up for the Booker Prize.  In an interview in The Guardian Crace described the day his ideas all came together.  It began with a moment of inspiration at the Watford Gap (recognising the extent to which the English landscape is 'drenched in narrative'), continued with a visit to Tate Britain, where there was an early eighteenth century depiction of enclosure, and ended on the train home with a story in the paper about South American soya barons turning people off the land.  I would love to know what the 'watercolour' was that Crace saw in London - presumably it was the inspiration for Mr Quill's sketches.  The clip below shows an old map at one point but what Crace refers to sounds more impressive - it prompted him to wonder how it was possible to gain such a vantage point 'at a time when no one could get higher than a treetop or a steeple'.  Perhaps it was a painting I am now no longer able to recall that Patrick Keiller included in his Robinson Institute exhibition at Tate Britain (reported on here in March 2012 - Harvest apparently took just six months to write and appeared in February last year).  You can let me know in the comments if you know - as it is, I'm torn between thinking it is probably something obvious and the feeling that, like the village in Harvest, it may not be real at all.

Monday, July 07, 2014

Chinese Landscape - Tattoo

Looking at players in the World Cup this month I have wondered whether those reports last year that we have reached 'peak beard' can be right, and, if they are, whether we nonetheless still have some way to go before reaching 'peak tattoo'.  Sadly I have not spotted any landscape tattoo designs so far on the footballers' arms and torsos (although a quick Google tells me that a couple of years ago VfB Stuttgart's Julian Schieber got inked with a view of his home village of Weissach).  In contemporary art, Huang Yan has specialised in this kind of thing, although his work, beginning with Chinese Landscape - Tattoo (1999) is actually a form of body painting.  Here's how the Met describes that series: 'Huang covers his torso and arms with traditional landscape scenes, presenting his “reincarnation” of literati-style painting. The composition, modelled in ink and colors on a white ground by Huang’s wife, the artist Zhang Tiemei, follows the natural form of Huang’s body. In the photos, the artist’s face is cropped away and Huang’s anonymous torso becomes an emblem of the Chinese everyman who cannot be separated from his cultural heritage, which, like his racial identity, is as indelible as a tattoo.'

Over the last fifteen years Huang has produced numerous variations on this theme.  What happens when a landscape is painted onto a face?  In Four Seasons (2005) the model is expressionless under each seasonal view, although in two of them his eyes are open, making it much harder to regard his face as merely a blank canvass.  In Pine Landscape Dyptich (2007), a nude woman takes the leaves and branches painted on her body into the boughs of a real pine tree.  Dismantle Landscape (2005) begins with a photograph of another tree-covered model, posed against a landscape backdrop painted in more of a 'Western style'; as the camera zooms out we see her standing on what looks like the floor of a building site and in the last image she is surrounded by construction workers.  You can see others in the YouTube clip I have embedded above.  Huang has also made sculptural work in this vein: a ceramic landscape skull, busts of Mao decorated with traditional motifs (including a Landscape with Figures and a Boat, 2004), and Pork Landscape 1 (2001), which is, as the title indicates, a piece of pork - the fat redolent of swirling mist and the meat a backdrop for blue hills and a tree covered in pink blossom.