“Lives Less Ordinary” at Two Temple Place critiques the depiction of British working-class life, exploring the disparity between art and class representation. The exhibition challenges stereotypes and strives for authenticity, examining works by various artists across decades. Despite its noble aims, it struggles with the question of what defines working-class identity in art today.
“Lives Less Ordinary” is an exhibition at Two Temple Place that aims to re-evaluate and correct the depiction of British working-class life. The venue, a lavish mansion, contrasts starkly with the subject of the exhibit. Organisers argue that representations of the working class in art have often been skewed by middle-class perspectives, leading to stereotypes that misrepresent working-class identity and experiences.
The exhibition grapples with the challenge of depicting a singular, stable working-class identity across decades, a feat that proves challenging. The critique extends to artists like Richard Billingham and Martin Parr, who, while capturing authentic British experiences, are perceived as lacking a positive portrayal of the working class. Despite showcasing works from the Kitchen Sink school, the reality of working-class authenticity remains elusive.
Some included works, such as Jack Smith’s 1954 “Interior with Child,” suggest that artistic representation of domestic life is not exclusive to working-class artists, blurring the lines of class identity. Ceri Richards’ “Yellow Interior” also leans into broader artistic influences rather than focusing on class. The exhibition, ideally aiming to highlight working-class narratives, often falters in its pursuit of authenticity.
Photographer Chris Killip provides a notable exception, offering genuine insights into working-class life during economic upheaval. His poignant project “Seacoal” features individuals gathering coal on the beach, encapsulating their struggle with dignity. However, the question of what truly defines working-class culture is raised when considering these subjects’ disconnection from traditional working-class movements.
The exhibition introduces contemporary works expressing various attitudes towards class identity. For instance, Corbin Shaw’s England flag and Roman Manfredi’s urban portraits explore themes that challenge essentialist views of working-class identity. In contrast, George Shaw’s evocative pieces address the complexities of working-class life without celebrating it as a mere identity. His honest depictions resonate with the haunting impact of his upbringing in Coventry.
Overall, “Lives Less Ordinary” presents a multifaceted exploration of the working class, revealing both the pitfalls of representation and the power of genuine, unfiltered artistic expression.
The exhibition “Lives Less Ordinary” seeks to address the misrepresentation of the British working class in art. By showcasing various artists’ works from different eras, it aims to challenge perceptions shaped predominantly by middle-class views. The contrasting opulence of the exhibition space with the subject matter adds complexity to the narrative of class representation.
The exhibition presents a thought-provoking critique of how the British working class has been depicted in art. While it aims to provide a fuller understanding of working-class identity, it grapples with authenticity and the effectiveness of traditional representations. The inclusion of various artists highlights the complexities of class, ultimately advocating for a more nuanced and honest portrayal of working-class life in contemporary Britain.
Original Source: www.theguardian.com