Egon Schiele and Francesca Woodman at Tate Liverpool
It might seem an odd curatorial move to exhibit the work of a male painter/draughtsman from the late 19th / early 20th century with a female photographer from the late 20th century, but thematic curating is often a great way to reappraise work we already know. It can bump us out of reading the conventional and familiar narratives attached to an artist’s practice.
Join drawing and painting tutor Bryan Eccleshall on Saturday 16 June to see the work of Austrian Egon Schiele alongside the work of American Francesca Woodman — they’re not even from the same continent! — to work through the similarities and differences in the work in this show.
Schiele is well-known for the angst ridden (and doomed), portraiture, but seeing his work in flesh will now us to linger over the way he combined mark-making with a bold use of colour and confident composition that exploited negative shapes. Woodman’s work may be less well-known but it is also powerful. Her use of her own body as subject matter is an obvious link to Schiele’s work, but her use of long exposures might be just as important. There’s a sense of ‘brushing’ in some of her work, resulting in the motion of the exhibition’s title.
Seeing these two artists cheek by jowl ought to be an enervating and challenging experience for anyone using paint, drawing, or photography in there practice.
In addition to this exhibition there is also work from the permanent collection which will, I’m sure, be worthy of attention. According to the Tate website, Lichtenstein’s WHAAM! and Can Fei’s superb Whose Utopia? film will be on show.
For study events that require a ticket, there is a non refundable fee of £10 to pay and your confirmation email will instruct you on how to do this.
Getting to Tate Liverpool and Accessibility details: http://www.tate.org.uk/visit/tate-liverpool
Egon Schiele, Self Portrait in Crouching Position 1913. Photo: Moderna Museet / Stockholm
Francesca Woodman, Eel Series, Venice, Italy 1978. Tate / National Galleries of Scotland © Courtesy of Charles Woodman/Estate of Francesca Woodman