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Posts Tagged ‘oliver wainwright’

A couple years ago, I was taken with a newspaper photograph of pink and blue buildings in a lonely North Korean square. So foreign. So melancholy.

I tried to get in touch with the photographer, David Guttenfelder, to see if I could buy a print. That didn’t work out, but I learned quite a bit about him and his special status as an approved photographer for Western outlets in North Korea. I became a follower on twitter and instagram, where I discovered that his photos of everyday life in the isolated country had inspired other Westerners living there. Now I follow posts on instagram by a group of people calling themselves everydaydpk.

So I was intrigued when Studio 360 also took an interest in photographs from North Korea.

Khrista Rypl posts on the radio show’s website, “North Korea’s seclusion makes pictures from inside the country irresistible novelties. But while the country’s borders are tightly controlled, visiting isn’t as difficult as you might expect. Almost anyone with enough cash can book a tour (although the US State Department advises against it) and people even travel there to run in an annual marathon. Officially, North Korea says it hopes to attract two million visitors by 2020.

“One of the tours available is an architectural survey of the nation’s capital, Pyongyang. Oliver Wainwright, architecture and design critic for The Guardian, recently visited the country with that itinerary. He’s been posting photos of interiors of the city’s buildings, and wrote a nice piece about his visit. It’s a fascinating glimpse inside a closed society. The empty interiors look like they’re part of an abandoned theme park from the 1980s.

“Wainwright notes that pastel colors appear everywhere in the city and calls the aesthetic ‘kindergarten kitsch’ — ‘the logical next step for a regime intent on projecting an image of carefree prosperity.’ …

” ‘In every refurbished building we visit, there is a peculiarly consistent style of preschool colour schemes and shiny synthetic surfaces, the pastel palettes and axial symmetry giving an eerie feeling of walking into a Wes Anderson film set, or a life-size Polly Pocket toy,’ [he adds].

“The decor certainly has a child-like quality, both in the color palate as well as in how each room has been pared down to a few essential elements, like a dollhouse.”

See if you agree, here.

Photos: Oliver Wainwright/Tumblr
The National Drama Theater in Pyongyang

Below, a rendering of an architectural project from the Paektusan Academy of Architecture in Pyongyang 

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Photo: Getty Popperfoto
L.S. Lowry, (pictured in 1957), the artist from Manchester, is the subject of a major new show at the Tate Britain gallery.

Some years ago when my husband was in England on business, he acquired a print of workers coming and going outside a factory. The original was by L.S. Lowry, whose paintings of industrial Britain turn out to be very popular in the UK.

Popularity, however, is not a ticket to being shown at the Tate Britain. Belatedly, Lowry will receive a retrospective in 2014.

Oliver Wainwright at the Daily Mail writes, “Clouds of smoke belch from forests of chimneys, while armies of spidery figures scuttle to and fro between narrow terrace houses and imposing factory gates.

“Crowds of fans shiver on the edge of a football field, a fist-fight breaks out, and barefoot children tease a stray cat on the street corner.

“These are the scenes depicted in the haunting paintings of L.S. Lowry who, more than any other artist, managed to capture the strange, bleak beauty of daily life in northern industrial towns.

“His dream-like images captured the popular imagination, adorning chocolate boxes and biscuit tins, tea towels and jigsaws.

“Yet they are scarcely to be found on the walls of our major national galleries. The Tate owns 23 of his works, but has only ever exhibited one on its walls in the past 20 years — and then only briefly. …

“Why has it taken so long?

” ‘He’s a victim of his own fan base,’ said Chris Stephens, Tate Britain’s Head of Displays. ‘What makes Lowry so popular is the same thing which stops him being the subject of serious critical attention. What attracts so many is a sort of sentimentality about him.’

“This is a strangely inverted piece of art world logic,” Wainwright comments, “where the popularity of an artist is seen as an obstacle to showing their work.”

If you’re an artist, be careful to stay off “chocolate boxes and biscuit tins, tea towels and jigsaws” — or wait to be discovered by art experts of a future generation.

More here and here.

 © The estate of L.S. Lowry
L.S. Lowry, Coming out of School, 1927

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