In The Red Corner Robert Indiana. And In The Blue Corner - Jaume Plensa….

Of course I’m teasing. How could the art world ever be compared to the world of prize fighters - yet it seems appropriate in a weird sort of way. Both artists are exhibited at the top of their game. Fine artists from different eras. It’s like comparing Joe Louis to Anthony Joshua. These artists are both heavyweights of the art world except they made their art in completely different periods of time. How will they compare? Who will win the fight?

I book my ticket and arrive at the Yorkshire Sculpture Park on a hazy autumnal morning. The car park was starting to fill and there were decisions to be taken. Do I head to see Indiana or Plensa first? I figure the bigger of the two exhibitions is probably deemed to be Indiana and where the earlier attendees of the day will head first so I head for the quiet of the Plensa exhibition located in the Chapel and the Weston gallery. It was a good call – both were eerily quiet spaces at that time in the morning, with only the presence of gallery wardens to keep me company.

The Barcelona artist Jaume Plensa is a darling of the Yorkshire Sculpture Park with exhibitions, personal presentations and permanent work at YSP all to his name. All are testament to the quality of his work. His international reputation is well established, with the tip of the iceberg being the recently installed Water’s Soul sculpture in New Jersey – overlooking the Hudson River and Manhattan skyline. He is represented by Galerie Lelong & Co. A gallery with a glittering stable of artists.

I enter the Chapel at YSP and the 2 facing sculptured alabaster heads immediately capture this viewer’s attention and imagination. There is a tranquillity in their giant faces perfectly suited to the Chapels atmosphere. You could hear a pin drop. His work is so recognisable. Like Picasso or Auerbach or Miro – you can spot his work a mile off. To compliment these two beautiful pieces there are a series of large drawings scattered evenly across the walls where solvents cause the medium to drip in an uneven but distinctive randomness. They provide a spiritual guard for the giant heads before them. These sculptures slow you down and, in fact, makes you feel like you are looking at the world in slow motion. They are ghost like. A tranquil setting is befitting of such work and the clicking of my camera lense was deafening in such a peaceful place.

I take the short walk to the new Weston Gallery – it was my first visit. A beautiful building with a lovely café, shop and gallery. The gallery is not large but large enough to make sense. Plensa hangs 3 heads constructed with black wire mesh from the ceiling. Where Soulages hangs paintings - Plensa hangs sculpture. As with the alabaster heads there is something ghostly about them. They are simply beautiful. Delicate and refined they appear effortlessly simple in their construction - although I’m sure their simplicity defies the effort that goes into making them. They are beautiful. Drawings and paintings surround these pieces. In some respect the drawings are overshadowed by the beauty hanging from the ceiling. I have my fill of refined modernism and my appetite for Plensa’s work is satiated. I’m so glad to see Jaume Plensa back at the Yorkshire Sculpture park. May his visits be frequent and longer.

I walk the park to the Underground Gallery for the Robert Indiana show. The sun starts to peep through the clouds on this calm and wind free day. To be surrounded by these giant pieces of work is nothing short of a treat. Scully, Hirst, Moore, Hepworth, Goldsworthy, Caro, LeWit, Gormley – they are all here and more – enveloped by the rolling hills of South Yorkshire.

I arrive at the Underground Gallery to be confronted by hordes of school children. Maybe it’s because on the surface the work of Indiana is easily digestible. Big, bold, colourful numbers and letters. I’m okay with that. Anything that introduces children to art is fine by me.

The artist was born Robert Clark in New Castle, Indiana in 1928. He changed his name to Robert Indiana in 1958 and his art career began to take off during the ‘60’s. Based in New York City he worked alongside some of the greats including Elsworth Kelly, Agnes Martin and Cy Twombly. Forever entwined with pop art for his bright, sharp images of numbers and letters, his practise principally covered paintings, prints and sculpture. Assemblage was also a key element of his work and so too the exploration of typeface in both paintings and sculpture. A bit like Ed Ruscha – the aesthetic of the written word had value for him. Short, snappy and to the point. Straight to the point. Undiluted. Perhaps his most famous motif was the Love imagery – ably displayed at YSP in a multitude of formats – both in the grounds and the gallery.

The show has a fine selection of work. It’s beautifully curated. There’s a special light hearted appeal to Indiana’s work but deep within more stimulating stories are at play.

I draw back to the opening title. Well, of course, neither artist won.

Art just isn’t like that. Art deserves its own time and space. Ultimately all great artists want to nudge the time line of history forward, even just a little bit, to show they were unique and played their part. I’m sure both these artists achieved their objective and they will continue to be remembered in the pantheon of art and most notably sculpture.

It was a joy, yet again, to revisit YSP and witness both artists in a fitting setting.