"Once Upon a Time...Artists and Storytelling" Embankment Galleries, Somerset House 26 June - 26 July 2009

One of my favourite childhood memories is lying on my stomach in the local public library reading The Orange Fairy Book by Andrew Lang - I'm still searching for a copy of that book even now, it was large in my eight year old hands and had an orange cloth binding - just the thought of that book and I'm back there deep within the worlds created by the Grimms, Perrault, and the Arabian nights. So when I saw that the Courtauld Institute had an exhibition on in the Embankment Galleries called 'Once Upon a Time...' I wanted to go. The exhibition was the culmination of the year long MA Curating the Art Museum course at The Courtauld and therefore jointly curated by those students led by Martin Caiger-Smith who was previously Acting Director at the Hayward Gallery. Artists have told stories ever since there have been stories to tell and artists to depict them and the first section of the show, Childhood Stories, about the link between illustration and text show was the personal equivalent to Lascaux cave paintings - the earliest attempt to make sense of the world around us based upon Snow White and Cinderella rather than the caveman's woolly mamoth. While not particularly groaning with Fine Art as such - although some particularly fine Paula Rego illustrations feature - the familiar Victorian Cruikshank and Crane prints of Beauty and the Beast, Jack and the Beanstalk, Three Blind Mice and so on, lulls the audience into a cosy rememberance of times past and in fact a quick glance around at my fellow visitors to the exhibition on a wet Wednesday afternoon confirmed this - plenty of nostalgic smiles and contented sighs. Personally I would have loved to have seen a few Ladybird book illustrations in there too - my version of Snow White was Eric Winter's, not Walt Disney's. However, one of the strengths of this section of the exhibition was that the dark and almost gothic side to our childhood tales was emphasised instead of the ubiquitous cartoon versions.



And like all good fairytales and stories the exhibition took a turn to even darker things...the second section of the exhibition was devoted to personal mythologies. Rather than taking an obvious line and showing some William Blake drawings, the MA curators had chosen Twentieth century prints and contemporary video works. Oskar Kokoschka prints waited in atmospheric subdued lighting alongside the dark curtained doorways to Tracey Emin and Gillian Wearing videos.


Tracey Emin's film Why I didn't become a dancer brought up memories of Hans Christian Andersen's The Red Shoes very strongly - this piece from 1995 is so much more than just Tracey from Margate telling us about her crap childhood as if she was on television with Jeremy Kyle. Unlike the fairytale Emin has built a successful career on her lack of vanity and a strong personal mythology which finds itself deeply rooted in our celebrity culture - Tracey as Cinderella.


Part of that same conversation is Gillian Wearing's Confessions which really does tread the same ground as Jeremy Kyle and Jerry Springer but with ridiculous disguises that remind one of the Channel 4 comedy show Bo' Selecta. The interesting thing about all these television resonances is that Wearing's piece - fully titled Confess all on video. Don't worry, you will be in disguise. Intrigued? Call Gillian dates from 1994 so this is a true case of life (or television) reflecting art.Kokoschka, Emin and Wearing are also part of the same conversation that Sartre championed in Being and Nothingness and that politicians, actors, pop stars and even shop assistants all buy into; that our past is what we make it and truth doesn't have to feature in that. The exhibition makes a strong case for our past as story, our lives as story and art to make sense of our lives and ourselves. Intriguingly all the curators of Once Upon a Time... are women and so often, certainly in Western tradition, women were the storytellers - Mother Goose and the Wise Woman. This exhibition scratches the surface of a fascinating discussion which certainly continued for me as I went home to get out my copy of Marina Warner's From the Beast to the Blonde: On Fairy Tales and Their Tellers and Angela Carter's The Bloody Chamber a wet afternoon in a gallery started out with me enjoying childhood memories and ended with dark thoughts about blood and beasts, just like all the best afternoons.