I've had a little fun with these two Tate pieces that are both made of black wood.
When I shot them I found the blackness of the wood problematic. The camera was metering in matrix, or maybe it was centre-weighted, and the wood detail seemed lost (though I know that often I can pull some out in processing). So I changed to spot metering and, voila, the wood detail popped out. A side effect was that the gallery goers, whose presence gives scale, became let's say ghostly. What fun! In the first photo, the Drew, I then drained away the colour. In the second, the Nevelson, I left the colour.
I added a third photo to show I am doing other things than just viewing art. I spent Thursday at Covent Garden to eat and shop.
I'm moving on from the Tate with this post but I just added a few more pieces to yesterday's post plus I identified the very nice Dod Procter painting that I had attributed to an unknown artist.
Leonardo Drew is a contemporary artist based in Brooklyn, New York. He creates sculptures from natural materials and through processes of oxidation, burning, and decay, Drew transforms these objects into massive sculptures that critique social injustices and the cyclical nature of existence.
Leonardo Drew is a contemporary artist based in Brooklyn, New York. He creates sculptures from natural materials and through processes of oxidation, burning, and decay, Drew transforms these objects into massive sculptures that critique social injustices and the cyclical nature of existence.
Leonardo Drew is a contemporary artist based in Brooklyn, New York. He creates sculptures from natural materials and through processes of oxidation, burning, and decay, Drew transforms these objects into massive sculptures that critique social injustices and the cyclical nature of existence.
In the late 1950s, Nevelson began to make reliefs by stacking wooden boxes and crates, each of which would contain an arrangement of found objects that she collected as she walked around the streets of New York City. Black Wall is an early example of this approach, filled with pieces of scrap timber, such as joinery offcuts and fragments of furniture. The disparate elements are unified by being painted black, a colour which Nevelson suggested will make any material look more distinguished.
In the late 1950s, Nevelson began to make reliefs by stacking wooden boxes and crates, each of which would contain an arrangement of found objects that she collected as she walked around the streets of New York City. Black Wall is an early example of this approach, filled with pieces of scrap timber, such as joinery offcuts and fragments of furniture. The disparate elements are unified by being painted black, a colour which Nevelson suggested will make any material look more distinguished.
In the late 1950s, Nevelson began to make reliefs by stacking wooden boxes and crates, each of which would contain an arrangement of found objects that she collected as she walked around the streets of New York City. Black Wall is an early example of this approach, filled with pieces of scrap timber, such as joinery offcuts and fragments of furniture. The disparate elements are unified by being painted black, a colour which Nevelson suggested will make any material look more distinguished.
