Guest post from our resident art expert, M! Enjoy:
The Wellcome Collection exhibition – art and mental illness
Nothing helps put your neurosis in perspective quite as successfully as considering those of others. The Wellcome Collection currently offers two exhibitions to this end – Madness and Modernity, which explores the development of artistic and medical interest in psychoanalysis at the turn of the 19th Century, and Bobby Baker’s Diary Drawings, a series of notebook sketches tracing the artist’s slow recovery from an almost complete mental breakdown. These shows juxtapose the treatment of nervous disorders in terms of both time-period and perspective. The former demonstrates the 19th century’s growing interest in introspection and the attraction of turning to sanatoria to cure nervous disorders brought on by the stresses of modern life, whilst the latter offers a most personal account of a patient being turfed between doctors and day centres in the hope of regaining her sanity.
Neither show is extensive, so a visit will not be a whole afternoon event. In its limited space, however, Madness and Modernity manages to explore both the medical world’s almost cataloguing approach to mental illness, in which they saw afflictions of the body as indicative of the physiological condition, and the ways in which artists interpreted this new awareness of the psyche. This is best demonstrated here by a focus on portraiture, a genre which previously relied on the artist’s adherence to aesthetic precision and the demonstration of wealth, fame or position. Now, in this “nervous age”, artists such as Egon Schiele and Max Oppenheim were turning recognisable sitters into monstrous personifications of inner turmoil with twisted hands and staring, vacant eyes. The only shame here is that none of the Schiele self portraits are originals, as this slightly diminishes the impact of the works. Nonetheless, they still convey the unique contradiction of Schiele’s art; the low internal worth needed to convey the self as emaciated and contorted, and the incredible narcissism that led the artist to show the public over and over again just how low he was.
In contrast, Bobby Baker is open and articulate about the ways in which her illness manifested itself. She has divided the exhibition into stages, so helping the viewer to understand how different treatments and events led to her recovery. The majority of the sketches are self-portraits in different scenarios, but there is none of Schiele’s self-importance here. Nor is there a sense of performance from this usually performance-based artist, save for a short video clip at the show’s entrance in which Baker welcomes her visitors. This is mirrored just a short distance away in Madness and Modernity by a video of someone pacing the corridors of Vienna’s Purkersdorf Sanatorium, passing cabinets of human and animal skeletons that were as much a curiosity as the living patients behind the closed doors. Whereas this highlights the claustrophobic nature and aesthetic control imposed upon these complexes, Bobby Baker’s welcome adds to the sense of the viewer being invited and encouraged to explore the very corners of an unhinged mind. At times both moving and shocking, Baker provides a view into a world few of us will enter, and in doing so campaigns for a better understanding and acceptance of mental illness in public life.
For anyone with an interest in the age of Freud and in the changing nature of the medical and public view of the human condition, and especially for anyone who has ever contemplated their own sanity, these exhibitions will both eliminate the sense of being alone in neurosis and raise any number of questions. Leave your preconceptions at the door, for some of this madness is in all of us.
Madness and Modernity runs until June 28, and Bobby Baker’s Diary Drawings is on until August 2nd. It’s FREE. The Wellcome Collection can be found just across the street from Euston station off Euston Road.