The exhibit itself causes responses of pride and patriotism, but also allows use to makes comparisons between these two cultures. The exhibit causes emotions such as these due to the many paintings and artifacts that are saturated in British heritage. They are full of iconographic scenes, for example countryside landscape and fishermen on boats coping with a storm. These along with imagery of dogs and horses are greatly associated with British heritage, connoting the stereotypical British life style. However in between these paintings are those of Eastern origin, they also follow this theme of ones heritage, with paintings of desert landscapes, markets scenes and the use of camels. This allows consumers o make the comparisons between eastern and western cultures, as it connotes that the cultures are very different yet very similar, for example paint situations relevant to their culture, and the use of animals , for example horses and camels. The exhibit allows the public to understand that the world has always been multicultural, it is not a recent process to happen, and this can be seen through these pieces of art.

The exhibit also shows how these two cultures can and have merged together. For example how eastern at has influenced western art. The painting Ms Elizabeth Young in Western Costume painted by David Wilkie in Jerusalem demonstrates this. The painting denotes a western women dressed in eastern style clothing with a harem setting. This was a reoccurring image in many oriental paintings. The painting connotes the underlying western perceptions of eastern cultures as the imagery is sensuous and exotic, full of bright and elaborate colours. Many European females had paintings done in this style in order to connote their status. The links between east and west can also be seen through the Star Medallion Ushak Carpet that was on display. The carpets were of eastern origin but western cultures began to reproduce these carpets. They symbolized wealth in 16th century houses being emblems of taste and status. During the industrial revolution weavers began to reproduce these carpets and there designs. Both these examples connote the ways in which both cultures interlink with each other, using parts of the others culture in order to develop their own.

Overall the exhibit is very educational portraying how art has brought these two cultures together. The exhibit demonstrates the differences but also makes apparent the similarities the cultures hold through art. The exhibit allows the public to understand that the divide between eastern and western cultures is not as vast as the media and history suggests. The exhibit executes this by using both western and eastern iconographic images and placing those with similarities close to each other. The exhibit also connote the way in which these two culture have influenced each others art.

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Manning Marable, former director of the Institute for Research in African American Studies at Columbia University, refers to the “stumbling block of stereotypes” as the “the device at the heart of every form of racism today.”2 He also echoes, the influential postcolonial studies professor Edward Said’s, Orientalism by believing, “the stereotype is not only the result of the objectification of human beings, but a denial of a people’s entire history and culture.”3 Hence, stereotyping by its very nature conceals a character’s inner individuality and grants them unreal. In addition, Walker’s commentary utilizing stereotypes of her own ethnicity appears to be a critique on both sides of historical ‘black and white’ culture. Within her work, the white slave owner, the black slave and the mulatto do not have distinct difference in skin color; they all share in a shadowy world.

1 The Oxford Pocket Dictionary of Current English (2009). Encyclopedia.com, physiognomy, http://www.encyclopedia.com/doc/1O999-physiognomy.html [accessed July 21, 2010]

2 Corris, M. & Hobbs R., 2003. Reading Black Through White in the Work of Kara Walker, Art History, Volume 26 issue 3, p. 428.

3 Marable, M., 1992. Black America: Multicltural Democracy in the Age of Clarence Thomas and David Duke, Westfield, NJ: Open Magazine Pamphlet Series. P.3

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Allen Jones RA takes centre stage by preparing for the opening ceremony with abstract paintings by Jeffery Camp RA and John Hoyland Ra under the name ‘raw’. Literature is on show with Michael Craig Martin’s exquisite letters and Matthew Collings and Emma Biggs providing eye catchy patterns for the background. Hughie O’Donohue’s shapeless paintings are also quite rich in values. Get ready to be charmed by the music from the rustic Basil Beattie and Tal R, the big names amidst the number of relative unknowns at the stage!

Fiona Rae’s crafted section reflects the artsy style of paintings by her husband Dan Perfect – one of the well known decent Brit names in the arts industry. There are a lot of shows going on with intense visual noise. David Chipperfield has put up a number of mountains in the architecture room, contrasting to the midgets that he created last year!

The Royal Academy is still getting accolades for hosting the most swanky art exhibition that has ever been held in England. Although there are changes happening every year, the Academy still dwells in its glorious past, bright with seamless performers and artistes. The ‘Summer Exhibition’ trudges on regardless the shifts that have taken place in the art world.

This summer exhibition is a must see for all. There are far too many exhibits from artists covering different art forms spanning different time periods.

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So the Tate Modern is ten years old and to celebrate it is getting out its gold card and buying up some new artworks from further afield than it has done before and consequently building on its already phenomenal popularity.

My trusty old, crumpled London A-Z marks the site as, “To be completed”and I remember clearly the first time I visited the Tate. I was bowled over, not by the artworks it contained, but by the building itself. The sheer scale of the place bears down on you as soon as you walk into the Turbine Hall, causing a physical change within you. Even though it has been discribed as a huge cement storage unit, it is so much more. As your eyes look up, up, up the central chimney, as it once was, the vertiginous height of the place replicates a religious experience. The Tate Modern’s building alone makes you feel intimidated, humbled and small. All this before you’ve even got a glimpse of a piece of artwork. This is not just a gallery, nor a decommissioned power station; this is a place of worship and it’s almost as if the artwork is irrelevant, which is curious given that it should be what the place is about.

It is also a big, brash symbol of Britart, of the Blair years, of the style over content ideology of New Labour. It’s imposing; it shows off and cannot be ignored. I have visited many times since its doors opened because despite its faults, it also does contain some fantastic pieces of art, and the views from its windows are worth seeing alone. Tate Modern has an entirely different atmosphere at night and it is interesting to compare a day time trip to a night time one.

Sadly though it is also far too touristic, it’s like you haven’t really “done”London without stopping off here and buying something from the shop so that you can proudly show off your Tate carrier bag, which shouts, “Look! I’m cultured me!”

So if you’re like me and you love it and loathe it in equal measure, one thing’s for sure, if in London as a resident or visitor, you won’t be able to ignore it.

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One of the most important things to learn as an artist is how to draw the human figure. It is also one of the most rewarding things to learn. A finished painting with accurate, realistic figures in it is very satisfying to have completed. The best way to improve your skill in drawing the human figure is to do two things.

First off, try and attend a life drawing class. There is no better way to improve as an artist than by drawing the human figure in a life drawing class. There you can see the actualy human body in its 3D form. You can see how light falls across the body and how it diffuses over skin. Conversely, you can also see how shadows help to create form. The money spent on a life drawing class will be more than worth it so this is priority number one.

If you do go to a life class, try to challenge yourself by drawing the life model from difficult angles. Take your time to study the figure as well, as this will help you when you come to draw your own figures at home or at work.

The other great thing that you can do is to go out and buy an anatomy book. The greatest artists have all done this during their early days. They would flip through the book and copy the figure and learn the anatomy. This would help them when they came to draw their own figures as they would know where each muscle went, what it looked like and how it moved.

Of course, having the book is also greatly helpful as a piece of reference. Even the best artists use reference and having a book that shows the human anatomy will be very helpful if you get stuck during a drawing.

So join a life drawing class and buy an anatomy book and watch as your ability in drawing the human figure becomes as good as the old master’s. Just remember, if you are using charcol (for the first time or otherwise), make sure that you have hand towels nearby, or you will end up ruining your drawing. I had to learn this the hard way.

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The Dulwich Picture Gallery (7 Gallery Rd. London, SE21 7AD) is holding an exhibition of the works of surrealist artist Paul Nash until May 9. The theme for the surrealist painter is “The Elements”, Nash’s work will be displayed to highlight the use of fire, water, wind, and earth to create a unique display.

The first room of this exhibition offers some of Paul Nash’s best works, which may have been a bad decision, since it takes away from the remaining rooms. However, fans of the artist will be pleased with the entire exhibit, but mostly they will be overjoyed with the first room. In true surrealism fashion, there is a great juxtaposition of the interior and the exterior, showing the walls as forests, the ceiling as the sky, and the sea is the floor. These were based on the artist’s view from a mirror, where he would see a disjointed landscape.

Amongst his work on display in the first room are Nash’s 1940 piece “Bomber in the Corn” as well as the 1918 canvas “We are Making a New World”. The display is intended to combine the artist’s use of “Elements in Conflict”.

Nash’s art is highly anthropomorphic (hills are obvious breasts, and standing stones represent the male phallus, for example) this exhibit shows the artist’s ability to bring life to his canvas, much in the same way as Van Gogh did.

His work has left many who have seen it waiting impatiently for his next exhibition. Some will surely be seeking him out for private pieces.

You can visit the exhibition at the Dulwich Picture Gallery on May 9, between 10am and 5pm from Tuesdays through Fridays, and 11am to 5pm from Saturdays until Mondays, as well as bank holidays. If driving is a problem, West Dulwich rail will get you there easily.

Quick Update: I just got off the phone with Catherine who is officially employeed as a designer for a Packaging Solutions business!

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