https://www.tate.org.uk/art/artworks/jorn-letter-to-my-son-t03864
Asger Jorn Letter to my Son 1956–7
NOT ON DISPLAY
ARTISTAsger Jorn 1914–1973ORIGINAL TITLELettre à mon filsMEDIUMOil paint on canvasDIMENSIONSSupport: 1300 × 1955 mm
frame: 1352 × 2007 × 59 mmCOLLECTIONTateACQUISITIONPurchased 1984REFERENCET03864
Letter to my Son is one of Jorn’s most ambitious paintings of the late 1950s, the period in which his international reputation was established. The title refers to his son, Ole, who was born in 1950. It is one of a number of works by Jorn that refer to families and childhood. The layered composition includes at least a dozen frenetic figures, loosely delineated with great energy. They have a spontaneous urgency that recalls the children’s drawings that Jorn admired during his CoBrA period.
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Unlike most modern states, Britain does not have a codified constitution but an unwritten one formed of Acts of Parliament, court judgments and conventions. Professor Robert Blackburn explains this system, including Magna Carta’s place within it, and asks whether the UK should now have a written constitution.
For most people, especially abroad, the United Kingdom does not have a constitution at all in the sense most commonly used around the world – a document of fundamental importance setting out the structure of government and its relationship with its citizens. All modern states, saving only the UK, New Zealand and Israel, have adopted a documentary constitution of this kind, the first and most complete model being that of the United States of America in 1788. However, in Britain we certainly say that we have a constitution, but it is one that exists in an abstract sense, comprising a host of diverse laws, practices and conventions that have evolved over a long period of time. The key landmark is the Bill of Rights (1689), which established the supremacy of Parliament over the Crown following the forcible replacement of King James II (r. 1685–88) by William III (r. 1689–1702) and Mary (r. 1689–94) in the Glorious Revolution (1688).
From a comparative perspective, we have what is known as an ‘unwritten constitution’, although some prefer to describe it as ‘uncodified’ on the basis that many of our laws of a constitutional nature are in fact written down in Acts of Parliament or law reports of court judgments. This aspect of the British constitution, its unwritten nature, is its most distinguishing characteristic.
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The United Kingdom does not have a constitution
The UK has no written constitution. Nor does England have a constitution, neither written nor formulated. The United Kingdom is one of the few countries of the world that does not have a written constitution: it just has what is known as an “uncodified constitution”.
Thus the only “British Constitution” that exists is a set of rules and regulations constituted by jurisprudence and laws (English and Scottish law), and by various treaties and international agreements to which the United Kingdom has signed up. This uncodified constitution has largely developed out of historic English law, since many of its founding principles and essential laws go back to charters and bills that were drawn up by the English parliament long before the creation of the United Kingdom……..
Being uncodified, the Constitution of the United Kingdom is in a state of constant flux. Each new law, each new major decision by judges, becomes a new stone in the edifice of the British Constitution. Thus, the British constitution changes all the time, very slowly, often imperceptibly. Britain moves forward by evolution, not by revolution.
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What does he think about those who include him in the lineage of America’s great Abstract Expressionists?
While Bradford has clear links with the Abstract Expressionists in the heroic scale, all-over composition and stunning visual impact of his works (last year, the Denver Art Museum and Clyfford Still Museum presented the collaborative exhibition Shade: Clyfford Still/Mark Bradford), he departs from them in his social engagement.
‘As a 21st-century African-American artist,’ Bradford says, ‘when I look back at Abstract Expressionism, I get the politics, I get the problems, I get the theories, I can read [Clyfford Still’s] manifestos, but I think there are other ways of looking through abstraction. To use the whole social fabric of our society as a point of departure for abstraction reanimates it, dusts it off. It becomes really interesting to me, and supercharged. I just find that chilling and amazing.’
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