{"id":259,"date":"2011-02-06T19:44:54","date_gmt":"2011-02-06T18:44:54","guid":{"rendered":"https:\/\/blogs.bmj.com\/medical-humanities\/?p=259"},"modified":"2017-08-24T14:02:51","modified_gmt":"2017-08-24T13:02:51","slug":"newspeak-part-two-british-art-now-is-doubleplusgood-by-dr-jane-r-moore","status":"publish","type":"post","link":"https:\/\/blogs.bmj.com\/medical-humanities\/2011\/02\/06\/newspeak-part-two-british-art-now-is-doubleplusgood-by-dr-jane-r-moore\/","title":{"rendered":"“Newspeak (PART TWO): British Art Now is doubleplusgood!” by Dr Jane R Moore"},"content":{"rendered":"

SAATCHI GALLERY 27th October 2010 – 17th April 2011<\/strong><\/p>\n

A few weeks ago I visited the new exhibition at the Saatchi Gallery with my group of 4th<\/sup> year King\u2019s College Medical Students. Visits to galleries, museums and art installations are an integral part of the \u2018The Good Doctor\u2019 Special Study Module but I hadn\u2019t included the Saatchi Gallery before. \u00a0Modern conceptual art is challenging and I was uncertain how this visit would help in our exploration of medical matters. I need not have worried; our visit was enjoyable, reassuringly accessible and it was easy to make links to the theme of goodness in contemporary medical practice.<\/p>\n

Newspeak Two <\/em>on display in the large bright rooms at the Saatchi Gallery, King\u2019s Road, London continues the showcase of contemporary British Art started in June 2010 with Newspeak One<\/em>. \u00a0All the original exhibits, including the widely advertised Pink Cher<\/em> by Scott King, have been replaced and the new collection opened at the end of October.\u00a0 Charles Saatchi\u2019s Sensation!<\/em> exhibition (Royal Academy<\/a> 1997) had \u2013 sensationally –\u00a0 brought late 20th century British Art to public notice. This was the outing of Damian Hirst\u2019s shark, Tracey Emin\u2019s unmade bed, Mark Quinn\u2019s blood sculptures, Chris Ofili\u2019s ingenious uses of elephant dung and the Chapman Brothers doing what they do best – shocking us into a reaction.\u00a0 So what would we make of Newspeak?<\/p>\n

George Orwell coined the term newspeak<\/em> in his dystopian classic Nineteen Eighty-Four<\/em>[i]<\/strong><\/em><\/a>. \u00a0This was the <\/em>deliberately duplicitous <\/em>politicians\u2019 \u00a0language which removed all shades of meaning<\/a> from words.\u00a0 For example, “think” used as both noun and verb makes the word thought<\/em> superfluous so it can be abolished; \u00a0if pleasure \/ pain becomes \u00a0\u201dgoodthink\u201d any negative connotations can be dismissed.\u00a0 In this way the total dominance of the State<\/a> was reinforced leaving the population passive and malleable. \u00a0By calling this collection Newspeak<\/em> is Saatchi mocking contemporary art? \u00a0Or is he referring to present-day \u201cartspeak\u201d, an artificial, pretentious, hollow and at times unintelligible discourse? \u00a0For our group this was our first link to contemporary medicine as we considered the role of \u00a0\u201cmedicspeak\u201d.<\/p>\n

Our guide, a postgrad art student, showed us some of her favourite pieces and gave brief descriptions.\u00a0 \u00a0\u00a0We appreciated this guidance which allowed us to move on to our own interpretations and make links to contemporary medicine and society. On our own I think we would have been at a bit of a loss. Though a description of all we saw would not be practical here are some highlights.<\/p>\n

Gallery 3 contained three massive, detailed and beautifully painted canvasses of men and machines by Jonathan Wateridge.\u00a0 We liked Space Program 2008, <\/em>a group of men posed in front of a spaceship under construction. \u00a0However on close scrutiny you could see the spaceship was a milk bottle, the launch control panel a mobile phone key pad, and the astronauts \u2018spacesuits\u2019 ordinary workmen\u2019s overalls decorated with bits of household tat. Yet the men, in reality the artist\u2019s friends, give the appearance of authority and confidence. We were reminded of Luke Fildes\u2019 iconic picture The Doctor<\/em> (1887).\u00a0 This picture, painted at a time of increasing mistrust in the science of medicine, managed to suggest that medicine and the establishment as a whole, had the power to confront the difficulties encountered by society[ii]<\/a>.\u00a0 In the same way we are lead to think that Wateridge\u2019s unlikely astronauts\u2019 competence and skill will surely lead to a successful expedition to further man\u2019s mastery of outer space and so all is well with the modern world.<\/p>\n

http:\/\/www.saatchi-gallery.co.uk\/artists\/artpages\/jonathan_wateridge_space_group.htm<\/a><\/p>\n

Anne Hardy (Gallery 5) has a series of four photomontages of \u2018depopulated rooms that suggest surreal fictions\u2019 according to the exhibition catalogue[iii]<\/a>. What we saw were detailed photographs of the same space, some frames showing a clutter of carefully arranged seemingly miscellaneous objects:<\/p>\n

http:\/\/www.saatchi-gallery.co.uk\/artists\/artpages\/anne_hardy_cell.htm<\/a><\/p>\n

Other frames showed an empty space with the outside crowding in;<\/p>\n

http:\/\/www.saatchi-gallery.co.uk\/artists\/artpages\/anne_hardy_drift.htm<\/a><\/p>\n

We found these images claustrophobic but compelling; reminding us of both the workings of the human body with tortuous nerves and blood vessels, and of the machinery of modern medicine which cuts us off from normal communication with our patients.<\/p>\n

In Gallery 10 The Followers<\/em>, Ximena Garrido-Lecca has produced a huge reproduction of a Peruvian burial wall. Each niche containing photos, mementoes, plates of food or a bottle of beer by which the deceased were remembered by their grieving \u2018followers\u2019.\u00a0 This is a beautiful exhibit, but after a short time as observers we became uncomfortable; we felt that we were intruding or showing a prurient misplaced interest in intimate details of people who had had no choice in the display and what it revealed. It was easy to make parallels to the role of the medical practitioner and our patients\u2019 narratives.<\/p>\n

http:\/\/www.saatchi-gallery.co.uk\/artists\/artpages\/ximena_garrido_followers5.htm<\/a><\/p>\n

So how do I justify this visit to the Saatchi Gallery to look at contemporary British art? \u00a0How can such activity be a valid and relevant and relevant contribution to undergraduate medical education?<\/p>\n

Artists observe, capture and record visual images; when patients describe events, feeling, concerns, they set scenes using their own imagery; in turn, doctors listening to patients\u2019 stories and descriptions form pictures in their own minds. \u00a0Looking at paintings and any art installations increases our observational skills and allows us an opportunity to practice the interpretation of visual images.\u00a0 By engaging with the story behind the picture we try to discover our own reactions and in group discussion we have the opportunity to explore these feelings further.<\/p>\n

Our visit to the Newspeak exhibition stimulated important discussion about important aspects of contemporary medicine which may not be encountered elsewhere in the medical curriculum. We may not have been able to understand it all the exhibits but certainly some of the pieces we looked at in the Newspeak exhibition were wonderful. We came away feeling we had risen to the challenge that modern art had presented and as a result expanded our horizons.<\/p>\n

Newspeak (PART TWO): British Art Now\u00a0\u00a0 is on at the Saatchi Gallery until 17 April 2011<\/p>\n

[i]<\/a> Orwell, George (1949). Nineteen Eighty-Four. \u00a0Secker and Warberg, London<\/p>\n

[ii]<\/a> Moore, J \u2018What Sir Luke Fildes\u2019 1887 painting \u2018The Doctor\u2019 can teach us about the practice of medicine today\u2019 BJGP March 2008; vol 58:548 p 210-213<\/p>\n

[iii]<\/a> Newspeak: British Art Now Picture by Picture Guide<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

SAATCHI GALLERY 27th October 2010 – 17th April 2011 A few weeks ago I visited the new exhibition at the Saatchi Gallery with my group of 4th year King\u2019s College Medical Students. Visits to galleries, museums and art installations are an integral part of the \u2018The Good Doctor\u2019 Special Study Module but I hadn\u2019t included […]<\/p>\n

Read More…<\/a><\/p>\n","protected":false},"author":42,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[15025],"tags":[],"class_list":["post-259","post","type-post","status-publish","format-standard","hentry","category-reviews"],"yoast_head":"\n"Newspeak (PART TWO): British Art Now is doubleplusgood!" by Dr Jane R Moore - Medical Humanities<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/blogs.bmj.com\/medical-humanities\/2011\/02\/06\/newspeak-part-two-british-art-now-is-doubleplusgood-by-dr-jane-r-moore\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\""Newspeak (PART TWO): British Art Now is doubleplusgood!" by Dr Jane R Moore - Medical Humanities\" \/>\n<meta property=\"og:description\" content=\"SAATCHI GALLERY 27th October 2010 – 17th April 2011 A few weeks ago I visited the new exhibition at the Saatchi Gallery with my group of 4th year King\u2019s College Medical Students. 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