Shape of Light is an exhibition held at the Tate Modern in Southwark. It expresses the relationship between photography and art with abstraction as a unifying force. What with the museum attempting to introduce more photography, this exhibition acts as a drive for artistic inclusivity.
Separated into twelve rooms, over 300 works by over 100 artists are displayed. They range from geometric oils to kaleidoscopic photos, which although are not ordered entirely chronologically, take you through time. Various art forms such as cubism, modernism and of course abstraction can be found throughout alongside photographs created directly in response. Works dating back to 1910 and spanning to present day, inspire and evoke feelings of creativity and connection. Introductory pieces by Man Ray, contemporary works of Thomas Ruff and modern photography by Anthony Cairns fill the exhibition with colour and re-invention. Shape of Light is the first proper exhibition to look into the relationship between art and photography. Each photograph was created in response to a piece of artwork for two reasons. Either, it was made as a tribute or as a reflection of the time, presenting the development in abstract painting. Shape of Light begins with a famous geometric work by Piet Mondrian hung next to a photographic response in black and white. The latter piece was one of German Lorca’s who believed “photography happens to the photographer and he makes it happen”. His cropping of the window pane and alternative perspective can be identified; a modern remake of a classic and widely known work of art. Throughout the exhibition both technological advancements are evident as well as the introduction of new artistic techniques. There are however some drawbacks. Journalist Lucy Scovell comments on the length of the exhibition, claiming “much of the middle can be hurried through”. Despite this, the occasional monotony is quickly removed with the introduction of new artistic concepts and reworks, continuing to maintain interest. Scovell also writes that there are “too many…close ups of textured walls” and whilst the exhibition is slightly repetitive, the specificity of her comments must be counter argued with the subjectivity of art. After all, the main idea of abstraction is that perception depends on the individual. She does, however, end stating that Shape of Light is a “showcase of simultaneous experimentation and discovery”. Senior curator, Simon Baker, claims “contemporary practise is less self-conscious and concerned”, emphasising that the “younger generations of artists are very free” and therefore less afraid to rework designs from the past. Baker summarises the exhibition perfectly on the Tate’s website, stating that “the relationship between photography and painting has transformed”. Shape of Light closes the gap between abstract photography and abstract art. As “the museum has tried to take photography into itself”, it also displays the previously separate art forms as one. Areas of Focus |
“Not all the people who post their aura pictures online want to be acknowledged as artists, but they do want to have those pictures seen. It’s interesting that the subject dissolves in a cloud of coloured light. On the one hand, the image has a history, and on the other, it is enigmatically definitive of how we see ourselves in the digital age. You know, we are pixels; we’re light.” > Susan Hiller
“Wurm often connects deeply emotional and psychological conditions to the human body as an ‘object’. In so doing, he deliberately challenges traditional forms and pushes them towards precarious states of distortion and tension. Humour permeates his oeuvre, which is also underpinned by a fierce critique of consumer society and contemporary culture.” > Xavier Hufkens: gallery for contemporary art
Image Analysis |
Victor Schrager: "The real purpose in making these pictures is addressing the box of space that sits in front of me, and seeing if it is once again possible to pull a compelling picture out of it; again and again, until the activity transcends the environment in which it takes place. Everything is surrendered to the visual."
John Coplans: "I’m using my body and saying, even though it’s a 70-year-old body, I can make it interesting..."
"...when I pose for one of these photographs, I become immersed in the past...I am somewhere else, another person..."