Anthony Smart

#61. Harry Hay writes on Brancaster Chronicles at the Heritage Gallery, Greenwich

Brancaster discussion in progress, 10th April 2017. Photo John Pollard. Film of the discussions will be made available to view on the Brancaster Chronicles website (Branchron.com) shortly.

Brancaster Chronicles at Greenwich, at the Heritage Gallery is open 11, 12, 13 and 18, 19, 20 April 2017, 10am-6pm. https://branchron.com/news/

I paid my first visit to Maritime Greenwich in 2010. I was in my first year of art school, aspiring towards figuration and rather disinclined to pay much attention to abstract art at all. Turner was my favourite artist, and so I was rather drawn towards seeing some of the world he depicted. The uniform that Nelson died in after his wounding at Trafalgar is particularly resonant in my mind. It is hard to reflect, almost impossible in some ways, on how we get to where we are. How many moments are there along the way that lead us to change course so drastically, for we hardly seem to notice it as it happens. Some may say that the divide between Turner and abstract art is not such a huge leap. Well it certainly feels so in reflection. If we fast forward seven years, my reason for returning to Greenwich couldn’t really feel more disparate.

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#14. Robin Greenwood writes on: Contemporaneity – William Gear/Stockwell Depot/Hans Hofmann.

William Gear, 'Autumn Landscape', 1950. Copyright the Artist's Estate. Image courtesy of Tyne & Wear Archives & Museums, Laing Art Gallery

William Gear, ‘Autumn Landscape’, 1950. Copyright the Artist’s Estate. Image courtesy of Tyne & Wear Archives & Museums, Laing Art Gallery

William Gear: the Painter that Time Forgot is at the Towner Gallery Eastbourne, 17 July – 27 September 2015; at City Art Centre, Edinburgh, 24 October 2015 – 14 February 2016.

A Radical View: William Gear as Curator 1958 -1964 is also at the Towner, 9 May – 31 August 2015.

William Gear: A Centenary Exhibition is at the Redfern Gallery, London, 16 July -5 September.

Stockwell Depot 1967 – 1979 is at the University of Greenwich Galleries, 24 July – 12 September 2015.

Hans Hofmann Catalogue Raisonné is recently published in the UK by Lund Humphries.

 

At the Same Time as Now.

The Towner and the Redfern are both presenting the work of ‘forgotten’ artist William Gear, an associate of CoBrA in the 1940s and a controversial painter in his heyday of the 1950s. Also showing is an exhibition of the works acquired by Gear during his tenure as the Towner’s curator (1958-64), including paintings by Sandra Blow, Alan Davie, Roger Hilton and Ceri Richards. Gear fought battles with Eastbourne Town Council to get modern art, and in particular, new abstract painting, into the Towner collection, the outcome of which was to make it one of the leading contemporary collections in municipal gallery/museums at that time.

Gear’s very own version of a public outcry over contemporary art had happened a decade earlier in 1951, when his painting Autumn Landscape was awarded the Festival of Britain Purchase Prize, paid for out of the public purse, and attracting the ridicule and faux-outrage of the press. It’s hard to see why, since it looks now to be the most good-mannered of abstractions, and by our experiences of contemporaneity, unconfrontational. A lot has changed in the last 65 years of art; the position of always equating ‘now-ness’ with newness is well established (they are, to be fair, often difficult to differentiate), as one novelty project succeeds and eclipses another. If there is any value left in contemporaneity, it has to be more than just the next new thing, and certainly more than a rehash of what has gone before but is now forgotten.

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