Love is enough
The exhibition Love is Enough was curated by, Turner Prize winner, artist Jeremy Deller. He brought together Andy Warhol and William Morris at the Gas Hall at Birmingham Museum and Art Gallery.
The Gas Hall is quite a large space to be displaying the two artists together, but nevertheless Deller filled the space. Upon entering the gallery space you’re met with a dark coloured wall, barely lite with a few pieces of Warhol’s work. It was unlike any galley I’d ever seen, the common theme of a gallery (especially featuring deceased artists) was to have the walls pristine white. However, Deller decided that the work would feature better on a darker wall.
The gallery seemed to be sectioned into three parts, as though it is usually one large room separated by two walls. The two areas of the room that were on the outside of the walls were well lite areas, whereas the space in between the walls was dimmer in light. This might of been to protect the colour of the work inside this area or just a conscious decision I couldn’t see.
Inside the Gas Hall the work of the two artists were not separated across the three spaces, but intertwined together. As a viewer I was able to see the connection Deller could see between the two artists. I feel that if the artists were separated in the show the viewer wouldn’t have been able to see a connection between them and this would have caused confusion within the gallery.
What I also noticed that Deller had done within the gallery space, was diminished the white wall expectation through most of the show. What the curator had done is pull Morris’s work out of its pages and printed it on the walls. It was very fitting due to Morris’s work being wallpaper designs.
The Gas Hall is quite a large space to be displaying the two artists together, but nevertheless Deller filled the space. Upon entering the gallery space you’re met with a dark coloured wall, barely lite with a few pieces of Warhol’s work. It was unlike any galley I’d ever seen, the common theme of a gallery (especially featuring deceased artists) was to have the walls pristine white. However, Deller decided that the work would feature better on a darker wall.
The gallery seemed to be sectioned into three parts, as though it is usually one large room separated by two walls. The two areas of the room that were on the outside of the walls were well lite areas, whereas the space in between the walls was dimmer in light. This might of been to protect the colour of the work inside this area or just a conscious decision I couldn’t see.
Inside the Gas Hall the work of the two artists were not separated across the three spaces, but intertwined together. As a viewer I was able to see the connection Deller could see between the two artists. I feel that if the artists were separated in the show the viewer wouldn’t have been able to see a connection between them and this would have caused confusion within the gallery.
What I also noticed that Deller had done within the gallery space, was diminished the white wall expectation through most of the show. What the curator had done is pull Morris’s work out of its pages and printed it on the walls. It was very fitting due to Morris’s work being wallpaper designs.