The Easel

21st June 2022

At the Serpentine Pavilion, Theaster Gates Offers Monumental Intimacy

Given the sought-after Serpentine pavilion commission, Gates has responded with a “minimalist” silo-like structure built from low cost timber paneling and roofing materials. The polymathic Gates seems unfazed by those who think it dull, confident that its qualities as a “sacred space” for public events will be apparent to audiences. It reminds the writer of a “simple shed”, but he admits “when reverberating with song, the chamber should be spectacular.” It will be dismantled at the end of summer.

Ruth Asawa: Citizen of the Universe

Asawa was taught as an art student to respect the integrity of her materials. She tried painting, producing leaf shapes and blobby biomorphic forms, before discovering wire and its potential to be woven into expressive sculptural forms. Early recognition in New York faded once she moved to the west coast, some no doubt sensing a “craft” element in her unconventional work. Now resurrected, her work is featured prominently in this year’s Venice Biennale. A recent biography is reviewed here.

14th June 2022

Paula Rego: Yes, With A Growl

Of the many obituaries to appear following Rego’s death, this is among the best. One critic notes that she “uncovered a type of female experience that no one had depicted before.” True, but how? The best discussion of her work (by far) is Morgan Meis’ 2021 essay. “Rego believes in stories [yet] her paintings do not deliver clear-cut narratives. Her greatest paintings [veer] between obedience and defiance. Paula Rego once said, “To be bestial is good.” And yet, potential degradation lurks here too.”