BogeArt: ART-cessorize

I love exhibition and museum gift shops. If I had unlimited funds I would have an abundance of over-priced canvas bags and exhibition catalogs. Art+shopping, whats not to love? Here are some snaps of the arty merch we found this summer:

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For a completely unreasonable 50euro this canvas bag with Les Roses de Heliogabale printed on it; or study in style with this Les Plaisirs du Bain folder!         Musée Jacquemart-André

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The sexiest art merch I have ever seen was at the Robert Mapplethorpe exhibition. Blow your nose on a cheeky nipple handkerchief. Naughty.

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I went to Perugia in September and was underwhelmed by their national gallery’s gift shop. But then I walked across the street to find these beautiful liquor chocolates with a gold-printed Perugino on them- yum!

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Isabella Bornholt; BogeArt

BogeArt: Frieze Fashion

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There is something to be said for coordinating with your surroundings, as this trendy gal demonstrates.

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‘The suits from Topshop- practicality is essential at frieze since your on your feet all day!’

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When in doubt wear black.

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‘If you work in visual culture how can you not care about the visuals your giving off?’

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This lovely lady was by far the coolest chic in the Frieze queue!

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‘Of course there is a correlation between fashion and art- just look around you, its all art!’

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This fashionista asked us to crop out her face. Maybe shes a criminal?

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This fashionista was less camera shy.

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Papped: Fierce individual

BogeArt

BogeArt: Frieze Art Fair

As I have said before on this blog, I find Frieze a bit of a headache. There is a lot of art, a lot of bad art at that, and a lot of fashionable people walking around stocking up on dinner party conversation and waiting to have lunch at whatever trendy pop-up catches their eye. This year I spent the whole week at the fair as I was working there, which was actually great because I did not have to pay the hefty £30 entry fee. To add to that I could do little bit of the frieze everyday, rather then getting exhausted, overwhelmed and disheartened after a marathon day of art. Here are some snaps, the sculpture park was free so next time be sure to check that out even if you are not going to the main part of the fair. Our feature on frieze fashion is coming soon!

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Emoji art- watch this space

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This guy was definitely the bell of the ball

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Maddy looking extremely unfazed by this guy dropping his trousers

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Me tryna look £500,000 next to a £500,000 sculpture

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Wow man

Isabella Bornholt; BogeArt

BogeArt’s 10 Cultural Alternatives- Paris:

Living in London has limitless perks (proud Londoner blogging), but, undeniably, one of the main ones is that Paris is only a short Eurostar away! So, if you haven’t multiple times already, book a ticket and enjoy a weekend in the city of lights. There are an abundance of museums and masterpieces; the queues are long and the rooms are crowded, so we thought we would give you our list of cultural alternatives to the big museums in Paris:

-Sainte-Chappelle

One of the most beautiful spaces I have ever been in my life. This medieval Gothic Chapel was made by King Louis IX to house the crown of thorns. He wanted to impress influential guests with it’s beauty, as part of his quest to cement Paris as the Capital of Christendom. You have to book in advance but it is well worth it and, if you feel like a real treat, see one of the concerts the hold in the upper chapel.

http://sainte-chapelle.monuments-nationaux.fr/

Courtesy of fineartamerica.com

Courtesy of fineartamerica.com

-Musee Jacquemart-Andre

Could be called the french Wallace Collection. This magnificent mansion was made in 1875 for avid collector Edouard Andre. It has a fabulous Italian section with works by Donatello, Perugino, Botticelli and Ucello. When the BogeArt team last went they had the ‘Watteau to Fragnard’ exhibition on; pretty architecture and pretty Rococo paintings on a pretty day in Paris- perfection. To top it all of the in-house cafe is a beautiful spot that epitomises 19th century Parisian elegance.

http://musee-jacquemart-andre.com/en

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-Street Art Tour

Paris has its own very distinctive street art/graffiti scene. It’s aesthetics’s are more traditionally pleasing than much of what London has to offer. Start your tour by looking at the track side works on your Eurostar journey, and if you like what you see check out a walking tour:

http://undergroundparis.org/street-art-tours-paris

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-Musee Rodin

Ok, this is quite a large museum, but not as many people know about it as you would expect, and it really is a tranquil haven in the middle of the busy city. It is a gorgeous house, with a gorgeous garden and gorgeous sculptures- a wonderful way to spend an afternoon!

http://www.musee-rodin.fr/

Courtesy of wikimedia.org

Courtesy of wikimedia.org

-Musée de la Chasse et de la Nature

We stumbled across this curious place whilst walking around Le Marais on Sunday (when many museums are free). Its not very big, so it is easy to fit into your schedule and there are plenty trendy galleries in the area. This quirky place is a museum of hunting and nature with copious amounts of taxidermy. They are really inventive when it comes to the curation of the stuffed animals- one room has a ceiling made of owl heads and feathers.

http://www.atlasobscura.com/places/museum-hunt-nature

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-Au Lapin Agile

The famous cabaret club that was a popular haunt for struggling artists and writers at the turn of the century. The ‘Moulin Rouge’, if you will, for Picasso, Modigliani, Utrillo to name a few. You can still go for a drink and see a performance of song, dance and/or comedy- a nice change from the euro-trash clubs.

http://www.au-lapin-agile.com/

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-Musee Picasso

The elegant 17th century building currently being revenerated, we cannot wait to see the new museum when it’s finished. Especially since it houses over 5000 Picasso pieces in it’s collection.

http://www.museepicassoparis.fr/

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-Brancusi’s Studio

BogeArt did a review of the studio a couple of posts back. Its right next to the Pompidou so you can kill two birds with one stone!

Courtesy of tripadvisor.com

Courtesy of tripadvisor.com

-L’Entrepot

For those in the know, this multidisciplinary arts centre and cinema is a great place to spend an evening. It has a restaurant, poetry nights, regular debates, music concerts and lets not forget all the beautiful arty people.

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-Musee de l’Orangerie

Not many people know that this is where Monet’s waterlilies are shown. A small classical building in the corner of the Tuileries gardens also has a great selection of impressionist, post-impressionist and fauvist paintings. It should not be missed, you will be surprised at how many pieces you recognise.

http://www.musee-orangerie.fr/

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Bon Voyage!

BogeArt; Isabella Bornholt

BogeArt: Hot Right Now- German Art in London

German art seems to be rife in London right now. With various galleries and museums around the city exhibiting the works of numerous German artists, it’s a great time to view some fantastic modern art and in most cases, delve into the fascinating history of Deutschland. Here are the best of the bunch.

As you’ve probably seen advertised all over the underground, the Anselm Kiefer exhibition at the Royal Academy opened a couple of weeks ago, showcasing his enigmatic and ambitious large scale paintings and sculptures in one of the biggest Kiefer exhibitions ever to be held in the UK. With the Guardian calling it “the most exciting show in Britain this Autumn” and critics praising his sublime depiction of a post-war era, this is one exhibition not to be missed.

https://www.royalacademy.org.uk/exhibition/anselm-kiefer

Continuing with London’s love for all things Deutsch, the Tate Modern is also exhibiting the work of another important modern German artist: Sigmar Polke. Polke’s witty, rebellious, colourful (and at times surreal) multi-media creations fly the flag for European Pop-Art, with the Tate bringing together Polke’s work over a five decade career. Starting with Polke’s more Pop-Art works which demonstrate his conflict of living in the Soviet east and aspiring to the 60s consumer culture in the west, right through to his more experimental work in the 80s, the exhibition at the Tate Modern proves Polke to be an important figure in 20th Century European art, even up there with his pal and (and more well known) contemporary, Gerhard Richter.

http://www.tate.org.uk/whats-on/tate-modern/exhibition/alibis-sigmar-polke-1963-2010

The British Museum is also showcasing numerous German creations. The ‘Germany divided: Baselitz and his generation’ exhibition brings together prints and drawings from German artists who migrated from East Germany to West in the 1960s and 70s, with works preoccupied with the post-World War One cynicism and guilt, as well as the consequences of the devastating divide of a defeated country. Artists such as Gerhard Richter and Sigmar Polke are featured in the exhibition amongst others, offering the public a satirical yet disturbing take on the mindset of a post-war generation.

http://www.britishmuseum.org/whats_on/past_exhibitions/2014/germany_divided.aspx And if that’s not enough, be sure to check out the British Museums ‘Germany: Memories of a Nation’, an extraordinary collection of objects telling the story of Germany over the past 600 years. So put on some deep house, get bopping and give in to your inner Germanic manic. http://www.buzzfeed.com/jobarrow/would-you-pass-gcse-german-now#39gg193 Maddy Martin; begot

BogeArt Review: Brancusi Museum Paris

By The Centre Pompidou in the Place Georges Pompidou Renzo Piano has created a space that is open to the public yet feels hidden, cut off and internalised: the reconstruction of Atelier Brancusi’s studio. It was created, not to be an exact replica of the original studio near Montparnasse, but to communicate ‘the unity that Brancusi created between his sculptures inside that studio space’.

Brancusi valued the studio as much as he did the work inside it. Towards the end of his life he stopped moving works from his studio as he believed he had found the perfect arrangement for them to be viewed in. In the 1920s the studio became his preferred place for the presentation and comprehension of his sculptures. He eventually stopped making new pieces and instead focused on expanding and metamorphosing existing ones within their space. This relationship between Brancusi’s sculptures and the space around them became so important to him that by the 1950s he would replace works he sold with plaster copies as not to disrupt the unity of the studio.

When in the Brancusi museum the individual pieces on display are not what we are meant to focus on; they are all plaster replicas for one, a glass barrier separates the viewer from the studio, and there are far too many of them to zoom in on specific sculptures anyway. In the museums leaflet the say that Brancusi endowed on plaster ‘the importance of marble’; I can’t say this translates effectively when spectating. If the sculptures had been in marble, the dense, weighty and historical medium, might have encouraged us to attempt to zoom in on specific pieces rather than understanding the sculptures as a collective. Perhaps the plaster copies work better in the studio than the originals.

As I write that I realise how my argument simultaneously agrees with and contradicts Brancusi. Showing work in a studio draws to attention the process and materials involved in sculpting. Brancusi saw the role of the artist as one who reveals the ‘cosmic essence of the material’ lying at the very heart of the medium being used. Brancusi wanted to convey the material in its most honest and plasmic form, and display the sculptures in the most organic environment, where this cosmic essence was first unveiled- the studio. All the tools on display at this studio replica remind us of these principles.

As a real fan of Brancusi’s work (he is my favourite sculpture along with Rodin), I do feel there is something sacred about aesthetically appreciating one of his works in a singular way, without focusing too much on the space around it. I am in two minds though about enjoying his work this way though as part of me feels I am being unfaithful to what Brancusi was trying to communicate. Therefore whilst sitting in the museum reflecting over the Brancusi heads and phallic shapes, I realised that this reconstruction gives us the best of both worlds. We get to see the bronze and marble sculptures in other institutions in more singular spaces where we can have more intimate and personal responses; and we get this serene place in the center of Paris to aid our understanding of Brancusi’s body of work as a whole.

BogeArt; Isabella Bornholt