Why David Beckham Won’t Be Hanging on the Gallery Wall
L.S. Lowry (1887-1976) in 1953 created as a passage in an artwork contest run by the Football Association, a work called ‘Football Ground’. Later re-named ‘Going to the match’ this was sold in 1999 to the Professional Footballers’ Association for £1.9 million, and can as of now be seen at the Lowry place in Salford. It portrays hordes of individuals gushing towards the football ground (Bolton Wanderers’ currently dead arena of Burnden Park), cheerful dispositions making a beeline for dim high raked open stands. It is feels cloudy and there is a solid breeze, a red pennant snapping a salute over the ground , the football fans some bowed firm into the breeze, caps smashed tight are not to be denied. Behind the scenes are the confined red block terraced homes of these football allies, further somewhere far off are the smoke stacks and plant dividers of the factories that developed the town. At the point when Saturday comes, delivered from work, the laborers head for the match, come high wind or downpour, the game and life is on.
Lowry had little interest in the individual, his eye was on the mechanical scene and how that shaped the local area it served. Football is a (maybe was?) common game, played by and for predominately average individuals, it is the place where individuals of that local area discovered their personality. In ‘Going to the match’ we can see this introduced as a maxim, the kind of individuals and their experiences plainly obvious. Maybe it is a result of this, the common laborers; en-mass at play that football isn’t addressed in workmanship. Generally ‘high’ workmanship was at the command or commission of the affluent and in this way, its style and subject would be for their taste and utilization, regardless of the craftsman. It was not in the force, monetary or fortunately, nor in the endowment of the poor to commission craftsmanship, in the metropolitan and mechanical conurbations of the late nineteenth century and mid twentieth century, idealism and amusement came from the music lobby and football.
Maybe as well, the opposing idea of the excellent game; beauty and animosity, physicality and strategies, discipline and sense, not least obviously the erratic determination to a game, doesn’t loan itself effectively to an exhibition divider. On the other hand, the present saying of record is celluloid, which either in film or photo can once in a while catch more than the snap of activity, and is hence deprived of an outline. One exemption maybe is the film, ‘Zidane: A 21st Century Portrait’ by Douglas Gordon and Phillipe Perreno. Where this extraordinary football player is followed only by 17 camera’s for the time of one single football match. As a picture it is outlandish as the complexities of outside setting are forgotten about. Nonetheless, it is a hypnotizing and impactful record of man at work in his own broke memory, educational as an inside discourse yet, does it convey the heaviness of exchange? While Lowry’s ‘Going to the Match’ is both non-literal and expressive, of time, place and of the Zeitgeist. อีสปอร์ตมือถือ
Taking everything into account, the lone football players photographs that will be seen hanging will be the groups and most loved players holding tight the room dividers of youngsters, and those football players photographs will be banners from the club shop. That banner as well, will change as groups age and player’s fortunes rise and fall. In a perceptive note, L.S.Lowry painted another image likewise confusingly called ‘Going to the Match’ in 1928, a more modest group heading for a rugby match this time. This image is more solemn, most shading cleaned out, the disposition as the sky, lower and more obscure. This 1928 and the world is hopeless, in 1929 the financial exchange smashed and the ‘economic crisis of the early 20s’ cleared in. The equals for 2009 is open for understanding.