London people: in Tate Modern and passengers on Blackfriars Station.
Today I met a friend at Tate Modern to see the Cezanne exhibition: the sunny south of France, Aix en Provence and Mont Saint Victoire, in tight brushstrokes of oranges, blues, greens and reds. The blue bay glimpsed between pine trees, a turn in the road, a gardener, patterned blue fabric, ginger jars and statuettes; and, of course, bathers to remind us of ourselves in nature and nature in ourselves.
I also visited Maria Bartuszova's exhibition of suspended plaster shapes and shells. I found A level students sat on the floor preparing for their projects by sketching the Bartuszova's experiments with plaster-filled balloons - eggs and nets and a snow scene perforated by sticks. The Performance art exhibition on the floor below contained a room which asked how art can address issues of social injustice, war and climate change.
In the main building I read Bob and Roberta Smith's (real name Patrick Brill) 'Thamesmead codex' (floor 4), and puzzled with the gallery guides over what distinctions informed the division of the permanent collections into 'Art in the studio' and 'Art in Society' (floor 2). It was a day to reflect on voices and values. Lots of questions.
I also visited Maria Bartuszova's exhibition of suspended plaster shapes and shells. I found A level students sat on the floor preparing for their projects by sketching the Bartuszova's experiments with plaster-filled balloons - eggs and nets and a snow scene perforated by sticks. The Performance art exhibition on the floor below contained a room which asked how art can address issues of social injustice, war and climate change.
In the main building I read Bob and Roberta Smith's (real name Patrick Brill) 'Thamesmead codex' (floor 4), and puzzled with the gallery guides over what distinctions informed the division of the permanent collections into 'Art in the studio' and 'Art in Society' (floor 2). It was a day to reflect on voices and values. Lots of questions.