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Paul de Monchaux's Churchill

 
 
Grey Area
12:04 / 09.08.04


From the BBC press release:

"De Monchaux's inspiration for the shape of the memorial comes from Churchill's use of the structures of poetry and song in the preparation of his wartime messages.

Churchill's speech drafts were typed from shorthand notes in what was known by his office as 'Psalm Style' ? blocks of indented text, stepping diagonally down the page ? and the finished drafts were known as 'Hymn Sheets'.

The form of the sculpture takes its cue from the visual structure of the 'Psalm Style' drafts and four facsimiles of these drafts will be embedded into the top surfaces of the central tier of the memorial."

Using this as a kick-off point, how about we discuss the use of modern art sculptures to represent historical figures and events? Can it measure up to the traditional statue on a plinth? Or does it just over-complicate things?

Taking the above example, I would say that this sculpture is, sadly, one of the ones that over-complicates things. OK, so it was interesting that Churchill had an eccentric style of writing his speeches, but is that really so important that you build an entire sculture around it? Shouldn't a sculpture that commemorates a famous individual be more obvious in terms of who it represents? To me, that spiral thing does not recall Churchill. It looks like any one of the hundreds of abstract objects that local councils distribute through estates, shorelines and other public spaces. Objects that hundreds of people simply walk past, that don't grab your attention and that certainly do not inspire you to think about what or whom they represent.

Granted, this is very personal thing. But can you truly stand there and tell me that an individual, confronted for the first time with that sculpture, will think of Churchill and his achievements, even tangentially?

I'm not saying all modern art style memorials and sculptures do not evoke something. Take the memorial to the book burning in the Bebelplatz in Berlin as an example. Even without knowing about what took place here, it is possible to take from the memorial the sense that something which had far-reaching consequences took place here. The idea of a library with empty shelves, sunk into the ground, has something about it that makes you wonder why this is here, and what it represents. It makes you think (and yes, I know that at this point I need to caveat my statement with the fact that not everyone thinks alike)

The above Churchill piece, in my opinion, does not.
 
 
Saveloy
12:44 / 10.08.04
This is what happens when people insist on art being meaningful or having some sort of reason for existing, instead of letting artists do stuff that looks right just for the hell of it. It feels very much like an art school project, where the student, knowing they'll have to justify their work on all but aesthetic grounds, has half-heartedly plumped for the first vaguely interesting fact they could find about Churchill on a trip to the library and built something out of that.

It's also a classic example of how boring art can become once any sense of mystery is removed. I'd like this much more if we had no clue whatsoever why it is the shape it is. Seeing that form with the words 'Winston Churchill' underneath would be great; we might imagine that this is what the artist assumed Churchill must have looked like, or that he intuitively felt that an angular spiral somehow summed Churchill up. Much better!

I'm not sure about the Berlin book burning memorial. I wonder if most of its strength doesn't come from the mere fact that it is there - the fact that a nation has decided to install a permanent reminder of a shameful incident from its own past is pretty inspiring in its own right. And, being a wee bit cynical, when you're dealing with big themes you can't go wrong with 'keeping it simple'.
 
 
Linus Dunce
22:36 / 10.08.04
I don't know that this proposed sculpture fails in the ways that you mention. What would be the point of yet another determined-looking-baby-face portrait of Churchill? On top of his obvious wartime achievements, Churchill was a renowned writer and communicator -- why should this aspect of his self be ignored in preference for yet another physical likeness? Or do you want a representation of Churchill that can be authenticated by comparison with his (broadcast) media likenesses?

As for letting artists do stuff that looks right just for the hell of it, well, that's fine, if we want our art to be that childish. But who really does, apart from the child?
 
 
Saveloy
09:44 / 11.08.04
Well, Picasso for one, if you believe he meant it when he said that, having spent a few years as a child learning how to paint like an adult, he spent the rest of his adult life learning how to paint like a child again. But I'm not sure I understand what you mean by childish, or rather, why adults doing what they felt looked right would produce art that is childish. Could you expand on that?

Getting back to the Churchill memorial - I agree that if the aim is to represent Churchill, then an examination of the way he did things is likely to be more revealing than a straight-forward portrait (eg "ooh, wasn't he methodical?"). But it's not a lot to go on, is it? You'd need a whole field of sculptures like this to do an individual person justice. The 'determined-looking-baby-face portrait' might at least be pleasing to look at.
 
 
Grey Area
14:21 / 11.08.04
I accept that yet another determined-looking-baby-face portrait of Churchill would not have been the best thing. But surely there's scope within the realistic portrayal school of sculpture to pick up on what this man did? A bronze of him sitting at his desk, writing away perhaps? The man is widely held to have been the hardest working prime minister of the 20th century, after all.

I would contend that the very fact that everyone has gotten so used to Churchill being portrayed in the determined-looking pose would contribute to the impact a sculpture realistically portraying him doing something else would have. And I would further contend that it would encourage people to consider him in a different light from the usual WW2 leader context far more than this abstract creation, which most people will look at and not have a clue about.
 
 
Linus Dunce
18:07 / 11.08.04
But I'm not sure I understand ... why adults doing what they felt looked right would produce art that is childish. Could you expand on that?

It wasn't the "looks right" bit I was disputing -- though that could certainly be a point for discussion -- but the "for the hell of it" bit. Art is more complex than that, surely? Picasso may have been trying to unlearn what he had learned, but it wasn't for the hell of it, was it?
 
 
Saveloy
15:36 / 12.08.04
Hmm, I getcha, I was probably being too flippant there. "For the hell of it" was a cheap 'n' cheerful way of covering all the reasons a person might have for painting which, although generated by very complicated things, sound unsatisfyingly simplistic when spoken aloud; such as "because I wanted to", or "I felt I had to". Non-utilitarian reasons, if you like (typical utilitarian reasons being 'to challenge society', 'to question our notions of what art is' etc)
 
 
All Acting Regiment
23:23 / 30.10.04
Maybe the true artist challenges society because they feel they have to.
 
  
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