- Venue
- Nottingham Contemporary
- Location
- East Midlands
David Hockney
1960-1968 A Marriage of styles
Frances Stark
But what of Frances Stark, standing by itself, a naked name, bare as a ghost to whom one would like to lend a sheet?
Nottingham is the latest city to follow a growing trend and produce an arts building on a national scale, following in the footsteps of neighbouring Midland cities such as Leicester with the curve (theatre) and Derby (digital arts). Nottingham Contemporary is one of the nations latest public art galleries outside of London, a build from the cities history and continued strength of its artist led communities that have been present since the Midlands group in the 1960’s, and have continued to grow largely due to the focused dedication by Nottingham Trent University and the arts graduates it produces.
Designed by renowned architects Caruso St John, (who also designed the New Art Gallery Walsall) the buildings modest front façade hides the fact that the architecture drops down and fits into the cliff edge, on which it was built, with a performance space that takes advantage of this depth of space. A café bar designed by New York artist Matthew Brannon, and an American diner style neon sign by local artist S Mark Gubb add to the buildings artistic prestige. You would be forgiven to think you are standing in an American mid west city , and Nottingham Contemporaries inaugural exhibitions only heightens that sense of feeling. Both of its opening shows give us LA induced compositions that reflect Nottingham Contemporaries new facade of gold and green, laden in lace,
Nottingham Contemporary launches with two exhibitions of which the artist’s interests and influences intertwine. The early years of David Hockney (1960-1968) are brought together for the first time in forty years since the Whitechapel presented a Hockney retrospective in 1970. Assisting them with the acquisitions for the show Nottingham Contemporary are one of the select venues involved with ‘Tate Connects’ partnership scheme, allowing Nottingham Contemporaries curatorial team the pick of Tate’s collection, with the largest Hockney collection in the world Tate Connects underlines Nottingham contemporaries artistic weight. Accompanying Hockney, LA based writer and artist Frances Stark provides admirable support with her college and text induced works, in her first show in a public space in the UK, before heading off to the ICC in Glasgow.
Although spanning only 8 years from 1960-8, this show would probably represent a lifetime of work from an ordinary artist. Yet David Hockney is no ordinary artist. Beginning in 1960 whilst studying at the Royal College of Art, Hockney races through a multitude of styles attempting to find his own place as an artist. Rebelling against the colleges respecting traditions towards life drawing are clearly depicted throughout his early work. Moving beyond his Royal College years by which time Hockney was acquiring critically claimed attention. The second room represent his travels through Egypt and adventures as a young man discovering who he was, before the show reaches its iconic and stylised ending as Hockney visits LA for the first time and settles in the sunshine state of California. Yet however pleasing it is experiencing iconic pieces of art its Hockney’s early more robust work that reveals more about his enigma than his stylised swimming pool paintings.
We two boys together clinging eclipses Hockney’s early style, the title taken from Walt Whitman’s poem of the same name along with influence from a tabloid clipping that Hockney had lying around at the time, regarding a bank holiday cliffside accident. Naturally mixing the various influences of the Whitman prose and tabloid cut out with his own sexual fuelled feelings. Two figures encompass the centre of the canvas, entwined with small testicle like tentacles, the painting uses various number references, with hidden meanings, that act as some kind of morse code, that communicate and reveal the links, insights and wit to his thoughts and desires once released from conservative North Yorkshire where he grew up, whilst in London in the 60s.
Nottingham Contemporaries other opening offering is LA based artist Frances Stark, whilst somewhat overshadowed by Hockney’s presence, provides a more present insight into the Californian lifestyle that Hockey much aspired towards. Nottingham Director Alex Farquharson has made a shrewd choice in initiating an inaugural show of Starks work in a public space in the UK, Born in San Monica Starks work shows us a relaxed, and breezy approach to juxtaposing compositions that cities the laid back Californian way. Stark’s history as a writer is clear as influence to literacy and the written word is abound within her work, laden with texts and literacy references.
Stark, in contrast to Hockney appears vulnerable, maybe lacking that confidence that Hockney displayed with abundance in the 60s. Stark’s practice evolves around her being all too aware of her own position and exposure to criticism as an artist presenting work, contrasting to Hockney’s frank openness to his sexuality which he depicts throughout his early work. Backside of the performance consist of three performers in kimonos staring out upon an audience depicted through small reflective cut out shapes, in typical Stark fashion the performers look static, stage fright in front of their audience, Stark is showing us the nerve-wracking and almost terrifying exposure that she puts herself through every time her work goes on display. Wandering through Stark’s two rooms you are repeatedly presented with Starks vulnerable individualism of show, for all to see, which comes across as endearing, yet unnervingly brave.
With over 5000 visitors in its opening two days, and over 700 visitors a day in its following week, Nottingham Contemporaries new building has being stretched at its seams. It’s clear that Nottingham has acquired a building that has captured both local and national attention, obviously with Hockney’s ‘favourite British artist’ status helping propel its opening attendance figures.
Looking ahead, February next year will see Star City descend on Nottingham Contemporary. Star City will consist of artists primarily from the old eastern block that explore science fiction and the space race. Highlights will include a glass cinema showing Deimantas Narkevicius’s alternative ending to Tarkovsky’s Solaris, a sci-fi classic. With Narkevicius being one of Lithuania’s most prominent artists on the international art scene and his work shown at the 49th and 50th Venice Biennale, this is great news for art admirers and critics looking for great art at Nottingham Contemporary, but will this attract the Nottingham communities like Hockney? If Farquharson can continue to balance the act of attracting Nottingham’s local communities along with presenting a programme of nationally recognised innovative art, then Nottingham Contemporary looks bound for successes, will that happen? I’m not sure. But for now let’s enjoy Hockney, Stark and the good times, and worry about that later.
