Urban Art at The Tate Modern London

On Tuesday I went to The Tate Modern again and again I went with someone so I couldn’t enjoy it as much as I would have liked.

Anyway, they have an Urban Art exhibition on the outside walls, which was amazing.  I was wondering how they got them up there because they are so big.

But as you see they did look great.

Evry time I go to The Tate I see something I didn’t see the last time and so far I have only managed to visit one floor.  I am really looking forward to the Rothko exhibition in September though.  Unfortunately, they had taken all the Rothko paintings away for the exhibition and replaced them with some rubbish that I really didn’t understand.  Plus the fact that I went with someone who really wasn’t interested in art at all, so that made it even more difficult, but nevertheless I enjoyed almost everything and I kind of switch off anyway when I am looking at this.

As usual I spent a long time enjoying the Pollocks’ namely Birth and Summertime.

Yesterday, I joined in my first group exhibition with the local artists society, but I think my work was a little too contemporary for the crowd there.  One of the participants asked me ‘How long did it take you to do?’.  I answered but I thought about the question afterwards and thought what a stupid question.  Who cares?  If you like something do you think about how long it took to paint?

She also said it was too expensive and by this time I was getting rather pissed in both the English and the American sense, and I just told her that the frame cost more than most of the paintings there.  After that I made my exit.


Nathan Coley

I did some research on Nathan Coley, shortlisted for this years Turner Prize, but couldn’t find very much about him except long lists of where he has had exhibitions. So here is a short and sweet biography of the artist. You can see more of him and his works if you click: Doggerfisher

Camouflage Church

Nathan Coley’s work explores the interaction between architecture and society. He is interested in the way that urban architecture and public space reflect our needs and aspirations. His work often uses architecture to raise social and political questions. Coley’s practice is driven by research, involving site visits, photographs, interviews and archival research. Coley became known for his public sculpture but he produces works in a variety of media, including sculpture, photography, drawing, video and installations. Born in Glasgow, Coley studied at Glasgow School of Art.

There Will Be No Miracles Here