#painting |

World Art Exhibitions + TAG

painters TUBES are delighted to announce that as from February 2020 we shall be working closely as an associated company with World Art Exhibition Limited (and British Art Exhibitions)

World Art Exhibitions enable new and dynamic platforms for contemporary artists. British Art Exhibitions, is one of their premier platform brands. The 2020-2021 exhibition program consists of mounting exhibitions in a host of venues throughout the UK, the USA, Europe and Asia.

painters TUBES magazines will be produce and design the catalogues for each exhibition under the TAG (Tubes Art Gallery) header – TAG will also occupy an exhibition stand showing painters Tubes selected artists work in each exhibition.

The TAG- TUBES editorial team along with the Tubes resident art critic (Spike) will write articles and summaries for each artist to be featured in the exhibition catalogues. Artist who are featured in the TAG -World Art Exhibition catalogue will enjoy full exposure on line and on Tubes Main website and painters TUBES new TAG-VR platforms.

There will also be opportunity for participating artists to expand their customer reach in the new TAG-3D VR exhibitions presented to a global audience within World Art Exhibitions and as a stand alone Group or Solo exhibition (from June 2020 onwards).

painters TUBES magazine selected Artist will be exhibited on the TAG stand at each and every World Art Exhibition and British Art Exhibition

Tubes Artists Gallery (TAG) will design and mount a physical space within each exhibition This space will consist of invited painters TUBES artists to exhibit and offer their work to collectors.

Contact: editor@painterstubes.com for details and submissions

Tubes will also promote artists participating within each World Art Exhibition on all painters TUBES platforms.

MANCHESTER 2020 April – World Art Exhibitions and British Art Exhibitions have scheduled eight pop-up exhibitions starting in Manchester April 2020. Book your space by going to https://www.worldartexhibitions.co.uk/

World Art Exhibitions, TUBES and TAG company information

painters TUBES+TAG – Owned, designed and published by Studio 5 Sweden. -253 Ekerodsvägen 266 95 Munbka Ljungby, Ängelholm, Skåne, Sweden. www.painterstubes.com. www.painterstubes.galley – www.tag-tubes.com – email: info@painterstubes.com. editor@painterstubes.com and tag@painterstubes.com Swedish Office mail: tubes@bahnhof.se

World Art Exhibitions Limited- work with renowned and prestigious clients around the globe, administering, operating, project managing or promoting, organisations, businesses and institutions such as; St Pauls Cathedral, The National Football Museum, The Crown Jewels (Tower of London), The IOC (International Olympic Committee) Museum (Switzerland), Richard the III Visitors Centre, Museum of London, York Minster, Wimbledon Museum, Chopin Museum (Warsaw Poland), Warwick Castle, The Giants Causeway, Ordsall Hall, Ferrari World (Abu Dhabi), Sydney Tower (Australia).

Britsh Art Exhibitions are a brand of World Art Exhibitions Limited, painters TUBES magazine and TAG (Tubes Artists Gallery) are registered brands of Studio 5 Sweden. ©TUBES2020 ©World Art Exhibitions 2020

TUBES back issues 1 to 4

Fantastic painters TUBES back issues that feature abstract painters and figurative painters from Europe and the USA. Free online direct links to online magazines.

TUBES BACK ISSUES #1 to #4

We are delighted to provide direct links to the first four back issues of painters TUBES magazines – Click the link of each one to read free on line. They are now presented on Tubes new and fantastic Virtual Reality Platform. You can view the magazine on all devices and all operating systems, OSX , Android, Linux or Windows. Bookmark our website to come back whenever you like and from wherever you are.

TUBES issue #1 Tubes issue #1 featured an interview with Ian Norris in his studio in winter of 2015. Ian Norris a highly respected and renown Northern English artist. Tubes art magazine issue #1 Interview- in the studio with Ian Norris.Featured painter has an in depth discussion about his new paintings and the reasoning behind them. Plus- Review of the Exhibition The Northern School a reappraisal and the accompanying Book at Gateway Gallery, Hale, Cheshire. Exciting New move for the Contemporary Six Gallery in Central Manchester Art Education ”what about the kids” What age should Art be taught? Spike’ on Tretchikoff our resident culture critic tells the full story of this most amazing artist who has been ‘put-down’ by the art establishment in the UK but remains the best selling artist in the 20th century.Click here. link: http://online.mobissue.com/badm/fwvl/

TUBES issue #2 In this issue: “in the studio with John Smout,” A painter hidden from view Plus Dave Coulter and the exhibition of the man behind the most famous street in the world. Coronation Street of Granada Television Fame. Also “in the the studio with Chris Cyprus” A new private Gallery sweeps into Cheshire. Cheshire Art Gallery. Spike- the resident critic explains why “Weltgeist” may be important to a painter. Plus an amazing essay written by the late author and professor of Art at Lancaster University, Nigel Whiteley. The essay -Affirmative art in a Disafirmative Climate was written for the Heart 2 Art Exhibition mounted in Stockholm in 2002- Curated and designed by Denis Taylor Artist, Writer and Editor of painters TUBES magazine.
Link: http://online.mobissue.com/badm/yovv/

TUBES issue #3 Brilliant issue including a great interview with legendary gallery owner Dave Gunning. The Galley owner who re-discovered the great English painter William. Ralph Turner. The full story is told in this issue and the Sunday Telegraph magazine article is also reproduced. Plus- Harry Rutherford. His legacy moving again? Saul Hay, a new gallery opens in the City of Manchester (UK) is it another commercial gallery? Paintings by Steve Capper exhibiting at Gateway Gallery Hale. Plus Hugh Winterbottom new work. Link: http://online.mobissue.com/badm/wucv/

TUBES issue #4 Abstract from alpha to omega. Academic brilliant article by Denis Taylor. Twentieth Century movements.Cubism to Futurism to Dada. Artists discussed: Braque, Matisse, Delauney, Mondrian,Derain, Gris, Metzinger, Balla, Malevich, Kandinsky, Duchamp. Late twentieth century movements, American Abstract Expressionism to Figurative Expressionism. Artists discussed. Mark Tobey, Mark Rothko, William De Kooning, Clifford Still, Nicholas de Stael, Arshille Gorky, Barnet Newman, Yves Klein, Jackson Pollock, Robert Motherwell, Robert Rauschenberg. 21st Century artists include: John Walker, Kayla Mohammadi, Denis Taylor, Lisa Kreuziger plus several more artists. Link: http://online.mobissue.com/badm/ytgv/

Tubes Artists Gallery- TAG4

painters TUBES magazines are delighted to publish the new Tubes Artists Gallery, issue number 4. Featuring eleven excellent painters.

the new Tubes artists gallery (TAG#4)

Featured artists from the the Tubes Artists Group. This is a special christmas edition on Abstract Art – Artists featured include: Liz Doyle, David Eastens, Shain De Heart, Riccardo Vitiello, Myfanwy Williams, Ian Fallace, Liz Cleaves, Paul McGloskey, Volker Mayr, Kelvin Harvey and Peter Murray. plus “Whats so Good about Abstract?” article by TUBES resident art critic ‘Spike’

CLICK HERE TO READ FREE ON LINE

TAG new issue — New TAG Cover Pages created by Liz Doyle.

Denis Taylor Editor TUBES magazine — TAG – Denis Taylor Artist and Exhibition Curator

Myfanwy Williams

TUBES magazines -TAG #4 — Riccardo Vitiello

Tubes Magazine- TAG #4 — Shahin De Heart

TUBES new issue Free to read on line

READ FREE on line click here

new TUBES issue — issue#14- great new issue -not to be missed

Latest issue of TUBES. #14 Great feature on Urban Art wriiten by two accomplished artists. Plus three master painters artworks, not to be missed.

THE PROTOS LOOPHOLE-a fictional story wriiten in serial form by the editor of painters TUBES magazine

Read the editors fictional story (in serial form) on www.denisartist.com

Tubes Artists Gallery.

Tubes Artists Gallery is now on line

Tubes Artists Gallery is now on line . READ FREE ON LINE CLICK HERE

Tubes Artists Gallery – showcase number 3 Front and Back Cover of TAG#3 – ©Cherie Grist.

Anthony Barrow The ‘portrait’ paintings shown in TAG#3 are immediately attractive to the viewing public at large and have proved this with the interest generated by the social media on the TUBES platforms over the last few weeks in October. These are accomplished works which have a unique approach to application of the chosen medium, skilfully applied onto a flat surface.

Anthony’s artistic concern goes beyond the image and explores the representational using memory as much as references. The artists subject matter is not restricted to ‘human figures’ and includes still life and landscape. Although it is his figures and portraiture that he tends to concentrate his focus on. website: https://anthonybarrow.co.uk/

Arwyn Quick – Arwyn is no stranger to TUBES magazine as we have featured his abstract work in a special feature. Then, as now, Arwyn has a passion for colour and the natural world inspired by the remote Derbyshire Peaks in the UK. Tubes were taken by Arwyn’s abstractions based on landscape, however in the work shown here in TAG #3 is more of the work that the artists is better known for. www.arwynquick

Cherie Grist – An exciting abstract expressionist with a [recent] inclination to formal geometric abstraction the artist explodes her colour onto the canvas. As most abstract expressionist will tell you, ‘feelings and memories’, help the to form the initial beginnings of the Artwork, and Cherie is no exception to that common artistic thread. However, what is refreshing is her unique approach to creating the finished image – At one time explosive with broad colour strokes, then with large lumps of colour overlaid and achieved by pouring the paint from the edge of the canvas, controlling the flow by moving the canvas in a slow motion, one that seems carried out by listening to the paints desires and wishes where it wants to flow. Here is what she says of her own practice. http://www.cheriegrist.com

Front and Back Cover of TAG#3 – ©Cherie Grist.

Claire McCarthy – Claire is now entering an enlightening phase where her heritage is starting to direct her attention to specific art creation. The artist is from a family who originated in Ireland her memories has always been connected to the Mersey Docks, the Sea, the Dockers, the Ships and the people of Liverpool. As the world changes and in particular the UK , which continues on its course of regeneration of the industrial North, much of the local history, character and what was once its financial strength is not only changing but disappearing. Very few Artists are embarking on a mission to capture that heritage for future generations. Claire is a leading artist in this regard and is working towards an exhibition project with paintings and new media. https://www.clairemccarthy.co.uk

Claudia Araceli – Claudia is what many people call a ‘plein-air’ painter – That is she works direct from nature and from what is in front of her. TUBES covered plein air in the main magazine (issue #13) and so it is with absolute confidence that I can say that I do not agree with Claudia being labelled in any way – except – as a gifted painter. https://www.claudiaaraceli.com/

David Bez – No stranger to TUBES [or the curator of TAG] David’s work draws inspiration from the urban, industrial and pastoral landscapes in and around his home. I the works shown in TAG# – Tubes have selected the artists ‘Deconstruction’ series of work – These ‘fantasy’ paintings demonstrate David’s fabulous imagination and pure talent – The artist utilises a Faux Vitrial process, hand embellishing with silicates and resins. This process adds a depth and richness to the paintings, giving a unique and exclusive finish to the work (see more work on: https://www.contemporarysix.co.uk/artists/david-bez/works/

Jocelyn Roberts – Jocelyn is what I would term an environmental painter with a unique talent for capturing the faces of nature. Her word is both strong, when nature demonstrates her power – and so very gentle on those special days that we have all experienced under the open and blue skies of a summers day. https://www.bodnant-artgallery.co.uk/jocelyn-roberts-1

Malcolm Dobbins – The unique abstract work of the artist is easily recognisable, and has been for quite some time. Malcolm has been painting for over four decades. His medium is acrylic and his style has been developed from master twentieth centuries masters such as Hans Hoffman through to Franz Kline – Although his own abstractions he feels is more akin to Abstract- Realism – than it is to pure abstraction as Hoffman or Kline work obviously are. It is not uncommon to see Malcolm’s style emulated these days, as other artists are attracted by the beauty of the simplification of landscape that Malcolm achieves – Yet, none can match his colour sense – or the way in which he carefully balances the colour tones within a specific composition, an attention to detail which is all his own. www.malcolmdobbins.co.uk

Martin Davis –“The drive to create work is my emotional response to colour, my love of form and to the effects on both of light & atmosphere.” So says the artist about his art – Didactic and an ex fire-fighter who was born and raised in the coalfields of Derbyshire, Martin Davis is an Artist who is reluctant to call himself by that ‘illustrious’ title. The reader may well disagree with him after viewing his work in TAG #3 –https://martindavisartist.co.uk/

Ron Etherington. One of the select ‘Saddleworth’ painters that has been encouraged and guided by a painter (well known to the Editor of painters TUBES magazine), John McCombs – John has guided many an artist practicing today including, Ann Parkin, David Edwards, Steve Tringer, Ian Norris and Margaret Hinchliffe all of whom took John’s class with Ron Ehtherington in 2010. www.painterstube.gallery

PRINTED VERSION -TAG# (Tubes Artists Gallery)

TUBES readers information: painters TUBES magazines are independent art publications. They are designed and produced at Studio 5 Angelholm in Skane, Sweden.  They are printed in the UK and Administered by artists. The magazine branding and it's associated url's: ©2013 painterstubes.com, ©2019-paintertubes.gallery and tubesmag.com Registered and owned by the TUBES Family. The Tubes family consists of: Barry Taylor.Consultant.(UK)  Denis Taylor, Artist, Writer/Editor (Sweden and the UK). Marianne Arnberg Taylor. Admin (Sweden). Adam Taylor.Admin(UK). Distributors. Manchester(UK). Past and present Current major projects include: Constructing the Mersey Gateway Bridge - Shaun Smyth, Exhibition at the Brindley Centre 2019. UK. "defining the elemental" Mixed artists exhibition, Dean Clough, Crossley Gallery, 2018-2019. The Second Nature Project. UK and Europe, panel discussion and exhibition - 2020-2021. Fiddlers Ferry Project 2020-2021- Lee Harrison and Shaun Smyth  North West England Exhibition of Photography and paintings. "Spike" Tubes Critic is written by Paul Constantine and Barry Ornszitt and Denis Taylor.

the Industrial Link

The sleek designed Mersey Gateway Bridge stands in front of the iconic Fiddlers Ferry Power Station. (photograph by ©Lee Harrison)

the Industrial Link

written by Denis Taylor Artist and Editor for painters TUBES magazine

“…In the days where the art academies dictated what fine art painting was and what it wasn’t, it was only historical art that was regarded as the ‘defacto’ work to be taken ‘seriously’ all genres of art came in second, third and fourth in the order of importance.

The art game changed however with the onset and public popularity of the Barbizon painters, Corot, Alexander Cozens, Poussin, J.M.W. Turner and perhaps more powerfully for the UK, (albeit belatedly), John Constable. It was these painters that forced the institutions to reassess their bias as to what sort of work should be viewed as ‘serious art.’

In many way ways this highlights the art world of today, but in an absolute opposite standpoint . Today historical art is seen as dead and buried – no one is interested in recording an historical event as such – unless of course it’s a radical arts led concept to undermine the social political establishment. Of course that sort of Art is sometimes needed – if only to ensure our rulers are kept a close eye on, but this type of imagery in ‘visual art’ is ineffective as far as making an impact or an effect on society is concerned. Social media, Twitter in particular, has taken on that role gladly, ridiculing the powerful, as and when required. Which it does rather well with total freedom and a huge helping of negativity….”

So…a few years ago, I came across a fellow visual artist (Shaun Smyth) who was actually recording something of historical note as by way of a change, my interest was aroused. After a few conversations and more importantly, viewing the actual brilliant sketch works created in the artists studio…

…I encouraged the support of painters TUBES magazine to back the artist and the exhibition whole heartedly. That exhibition was to be called “Constructing the Mersey Gateway Bridge.” The title given from an amazing governmental instigated [new] long needed infrastructure project, one which would create an actual gateway from the Mersey area to the rest of the North West of England.

It was a part of the ‘regeneration of the old industrial towns’ that have been ‘neglected’ for six or more decades – It was a significant structure in both intention and actual physical presence. The Mersey Gateway Bridge was completed and officially opened on the 4th June 2018 by Queen Elizabeth ll of England, Scotland, Wales and Northern Ireland.

Three years prior to the bridge opening for traffic. Shaun Smyth had already been sketching and painting the beginnings of it from the onset of the bridge construction. By 2018 Shaun had created dozens of examples of the bridge showing every stage of it’s construction. Luckily, the artist passed the structure every day on his way to his art teaching job at a local School.

Shaun eventually produced a mass of work – Large, small and medium in his own style. The actual paintings tended towards realism but with contemporary flashes of paint applied loosely with absolute skill and passion. As a local born and bred artist, Shaun added a non-apologetic large creative slice of regional pride.

painters TUBES magazine created and funded the prodcution of the catalogue and the media push, ensuring this important serious art was exhibited in a way that both the work and the project deserved. In this aim the first sign of success came in the form of support from the Brindley Theatre, the Hatton Borough Council, [+painters TUBES magazine] and Bell Lamb and Joynson Solicitors, all of whom ensured that the show became a reality from the 18th February 2018 to 5th April 2019- (please click here to read the: Exhibition Catalogue on line).

During the course of preparation for Mersey Gateway Bridge exhibition it came to the attention of Shaun that an historical icon of the area was on the brink of being ‘de-commissioned’ – That iconic structure was an incredible landmark of the North West of England known as Fiddlers Ferry Power Station – One of five coal fired stations still operational in the UK. For me, it was obvious that these two subjects should be brought together. The new Mersey Gateway Bridge – And the past glory of Coal Fired Power stations. The Fiddlers Ferry still holds an enormous historical importance in the hearts and the minds of people of the North West of England. And unlike the bridge, it was an integral piece of fantastic technology that was born out of the industrial revolution, the revolution that physically put the word ‘Great’ as a prefix to ‘Britain.’

Despite the understandable decisions to change how power is generated for national consumption for the 21st century (to reduce carbon emissions), for the benefit of the environment, Fiddlers Ferry should be given the respect it so richly deserves. Especially for the generations of people it has served and to provide historical reference and a narrative for future generations. It was with this in mind that myself, Shaun Smyth and Lee Harrison came to the conclusion that it was an Art project very worthy of serious attention.

above: Fiddlers Ferry created a ‘wild life’ environment with the excess water the plant needed for it’s colling towers. ©Lee Harrison.

Lee, a well known, gifted photographer, had been photographing Fiddlers Ferry Power Station for a few years before our new project was born, even though it was from an interest in how the power station could be seen from afar in the North West of England from great distances. And Shaun had already made many sketches of Fiddlers as the station was so close to the Mersey Gateway Bridge that they were in an almost symbiotic visual relationship. My own interest was initiated way back in 1988/89, when I first documented the Agecroft Power Station [before it was decommissioned and then demolished in May 1994] with a painting known widely as ‘Acid Trip’ ©DenisTaylor1988/1989- And of course I realises that this project was a terrific subject for articles for painters TUBES magazine, of which I act as an editor in chief.

So far, the new project has advanced quickly with Shaun, Lee and myself discussing the narrative and planning various concepts of presentation of the project in a public space. We discussed how various segments like video, photography, interviews of the staff could be shown along side oil paintings that are both realistic and some abstracted visions, all integrated into one visually powerful exhibition with a potentially huge public interest, especially in the North of England.

above (from left): Shaun Smyth, Lee Harrison and Denis Taylor of Tubes who has advised and guided the project from its onset. Behind Shaun and Lee is the large painting of Fiddlers Ferry Power Station created by Shaun.

With the go ahead for access given for the project from Fiddler Ferry, Shaun immediately launched into an ambitious painting of the ‘outside view’ of the station. This work will underpin future exhibitions and also give an immediate visual reference to the scale of the Fiddlers Ferry power plant. This oil on plywood painting, measuring 1200mm x 4800mm wide (4 ft x 16ft) is the first of a planned number of major works (to be created by Shaun) that the project will exhibit – And hopefully in more than one location in the North West of England.

The project will continue until Fiddlers Ferry has totally vanished from the landscape (in 36 months) – inbetween time the project is looking to hold a number of smaller exhibitions in immediate the local areas where the public can follow the ambitious project during its journey – as it documents this architectural, technological and quite incredible icon of the 20th century.

Above: Shaun Smyth and Lee Harrison at the pre-opening of the Mersey Gateway Bridge Exhibition at the Brindley. Photograph by DenisTaylor

Both the Mersey Gateway Bridge and Fiddlers Ferry Power Generating Station are equally important for the whole of society – one showing the path for the future – and the other respecting the achievement of the past – Both linked intrinsically with the people of the North West of England and far beyond the shores of the United Kingdom.

written Denis Taylor for painters TUBES magazine ©2019-Interested parties, sponsors, venues or for more information please contact info@painterstubes.com – marking Fiddlers Ferry Project as the subject matter.

TUBES readers information: painters TUBES magazines are independent art publications. They are designed and produced at Studio 5 Angelholm in Skane, Sweden.  They are printed in the UK and Administered by artists. The magazine branding and it's associated url's: ©2013 painterstubes.com, ©2019-paintertubes.gallery and tubesmag.com Registered and owned by the TUBES Family. The Tubes family consists of: Barry Taylor.Consultant.(UK)  Denis Taylor, Artist, Writer/Editor (Sweden and the UK). Marianne Arnberg Taylor. Admin (Sweden). Adam Taylor.Admin(UK). Distributors. Manchester(UK). Past and present Current major projects include: Constructing the Mersey Gateway Bridge - Shaun Smyth, Exhibition at the Brindley Centre 2019. UK. "defining the elemental" Mixed artists exhibition, Dean Clough, Crossley Gallery, 2018-2019. The Second Nature Project. UK and Europe, panel discussion and exhibition - 2020-2021. Fiddlers Ferry Project 2020-2021- Lee Harrison and Shaun Smyth  North West England Exhibition of Photography and paintings. "Spike" Tubes Critic is written by Paul Constantine and Barry Ornszitt and Denis Taylor.

painters TUBES issue #13

Excellent Article on plein air painting – a brilliant essay by Gregory Evans – Taking risks. A review of the legendary Russell Howarth (master painter from the North of England by Marianne Arnberg) New contemporary paintings from the UK, Europe and the USA Plus a new TUBES section where artists get to talk about their own words the new section is called “in their own words” – This issue Mark David Lloyd gives a great overview of his practise.

ISSUE 13 – READ ON LINE CLICK HERE

In this issue: Excellent Article on plein air painting – a brilliant essay by Gregory Evans – Taking risks. A review of the legendary Russel Howarth (master painter from the North of England- photographed by Marianne Arnberg) New contemporary paintings from the UK, Europe and the USA Plus a new TUBES section where artists get to talk about their own words the new section is called “in their own words” – This issue Mark David Lloyd gives a great overview of his practise.

This is how Google explain what plein air painting is…
“…en plein air is a French expression that means “in the open air.” It is used by artists to describe the art of outdoor painting, capturing landscapes and views in natural light. This kind of art has been a popular practice for centuries and requires specific skills and techniques.”

Do you agree with that definition? Technically it is correct, well the first part is, I mean it is French for in the open air, but what about the rest of the statement. Is it really used by artists to describe their work? Or is it used more by Art professionals, galleries, social media platforms to place this sort of art into a convenient ‘art’ box? – personally I think the later rather than the former is correct. Does it need a special skill ? Not really, painting is painting isn’t it? Not matter where or what you paint with or even on, inside or outside, it’s more complex than the skill – it’s more complicated than just having some sort of natural talent or a gift for transcription of an object or scene that is in front of you.” – intro written by the Editor of painters TUBES magazine

Contemporary Artists featured in this issue: Amanda Oilphant, Russel Howarth, Brian Cote, Gregory Evans, Helen Skidmore, Mark David Lloyd, Richard Suckling, Stephen Stringer, Niki Heenan, Barry De More – Edited by artist and writer Denis Taylor.

TUBES interviews famous artists — Russel Howarth – review of his work

George Condo in a great TUBES original feature — Risk, Reinvention and Revolt’ article

Mark Lloyd in TUNES magazine — “in their own words” (Mark David Lloyd)

TUBES magazine- read on line — read anywhere any time

painters TUBES magazine now in Central Gallery Manchester — Printed version in Public Library

SUBSCRIBES LINKS : BUY ONE PRINTED MAGAZINE SUBSCRIBE FOR ONE YEAR – SIX PRINTED MAGAZINES.

ARTISTS SUBMIT YOUR WORK FOR INCLUSION IN TUBES

TUBES readers information: painters TUBES magazines are independent art publications. They are designed and produced at Studio 5 Angelholm in Skane, Sweden.  
They are printed in the UK and Administered by artists. The magazine branding and it's associated url's: ©2013 painterstubes.com, ©2019-paintertubes.gallery and tubesmag.com Registered and owned by the TUBES Family. The Tubes family consists of: Barry Taylor.Consultant.(UK)  Denis Taylor, Artist, Writer/Editor (Sweden and the UK). Marianne Arnberg Taylor. Admin (Sweden). Adam Taylor.Admin(UK). Distributors. Manchester(UK). Past and present Current major projects include: Constructing the Mersey Gateway Bridge - Shaun Smyth, Exhibition at the Brindley Centre 2019. UK. "defining the elemental" Mixed artists exhibition, Dean Clough, Crossley Gallery, 2018-2019. The Second Nature Project. UK and Europe, panel discussion and exhibition - 2020-2021. Fiddlers Ferry Project 2020-2021- Lee Harrison and Shaun Smyth  North West England Exhibition of Photography and paintings. "Spike" Tubes Critic is written by Paul Constantine and Barry Ornszitt and Denis Taylor.

illusionary world of artists freedom

an illusionary world of Artistic freedom. article written by the Artist Denis Taylor.

I strayed across an interesting old video on You Tube….

It was was on those that you find popping up on a feed after you have watched something similar, which is annoying. But, it got me thinking about the relationship between Artistic freedom and Modern Religious Art. This particular You Tube discussion, come lecture, come educational piece, was presented by a line up of tenured academics and young post graduate teachers.

The panel argued how Contemporary Art institutions reacted negatively to work that was based in some sort of religious subject.The discussion started after an initial lecture by one of the Academics, David Thyrell. So began two hours of surprising statements, amusing quotes, some fairly logical reasoning, heart felt speeches and many contradictions from an art academic viewpoint.

Thyrell reckoned that… “Only Art that is critical of (western) religion of faith is acceptable as Contemporary Art. And all other art that could be read as religious, is translated to one of a post minimalistic view.” (And)…”that all references to faith and religion is edited out at source”. (And)…”the contemporary Art world does not seek any debate on this form of art because they see it as non-progressive, as propagandistic and not supportive of an advancing culture or indeed, enlightening mankind for the new centuries ahead of us.”Thyrell spoke with passion and summed up his lecture by stating…”it seems, that religious work that is non-specific, for example, non-stated religious, ambiguous or totally abstracted with very loose associations, are acceptable as Contemporary Art. Providing the images are not from a Judeo Christian slant. However, the tribal, the Asiatic or the cultism subjects are OK.“

Judaeo-Christian made up the bulk of the audience (note: it was held at a Roman Catholic University) I guessed they must have been appalled by the status-quo of the implied bigotry against religious art levelled against the- ‘Artists of Faith’ – as they call themselves. For me personally, there is no need to be religious specific to appreciate (or create) Art that is good, even if that Art owns its very existence to institutions of any religion persuasion who sponsored it, or indeed created by an artist that holds a particular belief system or faith.

Detail of a painting by Pontormo in painters Tubes magazine — detail of Pontormo’s ‘deposition’ (1525‒28) at the church of Santa Felicita, Florence

Good Art is what floats my boat, I don’t care who or why or for whom it was created for. As for the rest of the Art that floods the web and the mass media art reviews, much of that Art that personally I find sort of shallow, egoistically based, trendy or with intellectual invested admiration intentions, I simply pass quickly by, metaphorically speaking, without so much as a cursory thought. For me to be anguished by an Art as the above, only goes to validate it as important to human cultural advancement, which I think it is not.

Most artists, (those I do know personally), when looking at a work of art that could be deemed as ‘Religious’, tend to ignore the possible original intended propaganda or dogma of it, but rather they concentrate on the pure magic of the Art work in front of them. For example some the work of by Pontormo and El Grego, to mention only two (religious) painters of the far distant past, whose work I greatly admire and gain much from. After a while I began to feel that the lecture, come debate, was myopic, but Thyrell’s argument did instigate an examination of my own thoughts on the subject of Modern Art & Freedom of Creation and Modern Religious beliefs in our, so called, multi-sectarian developed Western societies.

If a contemporary artist can go beyond an intellectual subject matter and demonstrate a visual power conducted via an innermost and deeply held belief, then surely that is still a vital and sustainable contemporary Art, is it not? No matter what religion the creator of that art subscribes too, or not as the case maybe. After all, isn’t atheism a brand of religion by another name?

The Rothko Chapel in Texas -article in painters Tubes magazine — Rothko Chapel Texas USA (rothkochapel.com)

If we look closer to our own time, rather than the centuries when the Church and Monarchies of Rome and Spain dominated major art commissions, say from the early and middle centuries, we can find a new sort of religious art. Malevich, Kandinsky, Mondrian and the like studied theosophy and talked of a ‘spiritual’ art. Pollock, used the practises of the the Indian Sand Painters, which involved connection with ancestors souls or spirits. Rothko and the gang of colour field painters also spoke of mediative involvement and introspection. Are all those artworks a form of religion? If you have ever visited the Rothko ‘Chapel’ in Texas, you’ll know what I am talking about. And what of Chagall. Are his paintings nothing more than illustrated nostalgia based on childhood memories of stories taken from the Old Testament? Or let’s take Vincent Van Gough, was not his paintings a projection of the love of nature reinterpreted through his own deep seated belief in a universal God? How about Agnes Martin or Sam Francis, each with a Buddhist inclination for transcendentalism or meditation. Is that not religious Art ?

Sam Francis, painter in his studio in paintersTubesmagazine — Sam Francis painting in his studio

In the early 20^th century the word nihilistic art was being brandished about to describe the work of the Futurist (Italy), whose dogma was Machines and War to cleanse society and shock it out of it’s perceived malaise [of the time]. The Dada movement used the same framework with banal poetry, non-sensical drama and outlandish visual presentations [to hide away from and in reaction to the horrors of World War One]. Again, the essence here is that the Dada movement believed in something – however abstract that was – rather than nothing. And this obtuse oddity of their belief carried on manifesting itself decades later as the impatience of post-modernist [young] artists and the ambitious driven post-post modernists, and the current belief that ‘selling art, means that it must be good ‘Art’ – And made by a succesful artist (rounds of applause by living painters, can be heard here on instagram and facebook) which where I guess we find ourselves in today’s visual art world.

Though, just maybe the web is changing the ground rules. I don’t know about you, but when I view art on the web, I find more and more of it has a growing and obvious ‘belief-structure’ of some kind behind it. And much of it is good Art, mostly created by ‘unknowns’. Sure, there is still that twee stuff and the obvious bash it out to sell it for financial gain ‘ hamburger art’, not forgetting the overly academic art whitterings of art professors and so called art intellectuals who try to convince the audiences in the cities of the world, that this piece of stuff or that offerings of purely conceptual ideas, is great progressive Art (and not just simply a novel or good idea). After all it does put a high monetary value sticker on it, provided it is accompanied by the obligatory academic recommendations, especially if the Art has the blessings of Art Directors of state run institutions.

So, do Artists have total freedom to create what Art they want? Maybe not entirely, if you agree with David Thyrell in the You Tube video I mentioned earlier. Is Religious Art (in all it’s manifestations) making a comeback? The Zeitgeist signs suggests it may well be, but not in the ‘normal’ sense of the word. In this world of the politics of infusing the inhabitants with psychological terror, global climate change fear, mega disaster predictions, the accelerating greed for money and power, irresponsible political leaders and not forgetting the inhumanity to humanity we witness daily, a world that we live in today (and perhaps always have). Maybe it’s not such a bad ambition for visual artists to ascend to a higher level and start to transmit messages of hope. And if you’ll pardon the religious, (come 1960’s hippy reference and of course the Artist known as John Lennon) visual art messages of Love and Peace, for all who reside on this tiny insignificant planet tucked away in the corner the limitless time and space of the universe.

As David Byrne once wrote,

“Heaven is a place, where Nothing ever happens.”

So, now I have to gather my courage and meander slowly to my studio, where another blank space awaits. I wonder what will appear? I guess I just have to have faith that something of real artistic value will show itself, maybe even holding the restorative creative power of the universe itself ?

One never knows, that’s one reason to be an Artist, isn’t it?

the universe - on painters Tubes magazine — small part of the many Universes – photograph from NASA

where do you sell your paintings?

“You won’t believe this but, I was reading an art exhibition review which is pretty damming, not only to the exhibition in question, but also to the artist who made it. This isn’t an anti-post modernist twentieth century rant, nor is it an intellectual twenty first century tirade of what Art should be or indeed what it actually is.

Not at all, this review is more like those angry comments one sometimes reads after an essay about Contemporary Art in a left leaning national newspaper. You know, those rants directed at some arts columnist who infuriates everyone with his almost myopic intellectualism – the one that uses sentences filled with nine letter and twelve letter words that were lifted from a thesaurus the night before.

To be honest, at first I laughed and then I was taken aback at the ferocity of the attack and then I felt really pissed off….” (30 September – 19.07 sms from Spike to painters Tubes magazine Sweden article to follow).

…the newspaper reviewer started off with, “that he found the exhibition so boring… that he could hardly find anything [to write about]. So, what was this horrendous exhibition he was so incensed about? – Artists vomit ‘installed’ on the floor of a gallery perhaps? Or maybe a live performance of an artist asleep? Maybe digital prints of someone else iPhone selfies? Or even a person standing and staring into space for an hour or two naked in the middle of a gallery whistling out of tune? Nope… none of those, it was a visual art exhibition showing paintings hung on a wall. Paintings, the most ubiquitous of all art was what this supercilious art critic railed against. He announced that painting (as an art form) was dead if not buried. So what if the artist had mounted an on-line exhibition instead of a bricks and mortar gallery exhibition? Would he have had to encountered such negativity and venom against the artist and the work? I don’t think so. On-line etiquette is far too well enforced, as far as commenting (read criticising) art is concerned. If you do critic any art on line – well, you know what happens guys…you get a bad case of the International Troll Gang gunning for you, social media is vicious towards critics. It’s sort of reversed in real life.

Do you Sell on line?
Showing paintings on line, seems to be the main stream for the dissemination of an artists work. Even though real life exhibitions are still relevant for many artists, an on line presence is essential (if only for street cred). Perhaps this particular critic didn’t realise that the “painting is a dead art” conversation has faded away as fast as padded shoulders did in the middle 1980’s. There has been a major change in attitude to painting in the last decade or so. In part, this may be entirely due to the need for the high street galleries to survive the financial crisis, the one that started in earnest way back in 2008. High street galleries need to sell ‘stuff’ and earn a profit – And paintings sell much quicker than ‘cool’ installations that rely on high brow art academics to authenticate the cultural importance of something that most people wouldn’t actually install in their homes (even if they don’t say so publicly). And the institutions are happy to underscore the ‘Art’ as a thank you for the generous support (financial donation) made by the mega white cubed gallery brigade, whose artist is the latest exhibition in the museum. ”

“there’s something rotten in Denmark, me thinks.”

Yet, the installation art marketplace is tiny compared to what the two dimensional art market is and I think the galleries have woken up to that as a fact – so now painting is the ‘thing’ again. Today the sheer size of the visual art market (because of the internet and the web) has outgrown all that ‘arty farty stuff’ by leaps and bounds – certainly as far as turnover is concerned. So the www has become the place to set up your stall. Major funded on-line art galleries and some not so well funded independent artists, all have a go at selling direct to art collectors and art lovers. Many of these artists and the one man art galleries start-ups fail quickly- some have a sort of:- ‘in the third year we will make money plan’. Most, in reality, loose much more money than they bargained for and are wrapped up prematurely by the investors that backed the idea in the first place. It’s not a case of chasing huge profits for many galleries though, on the contrary, it’s survival we are talking about here. Many on-line galleries are simply losing too much money, year in and year out. Consumers are going direct to source these days, via instagram.

“there is no money in Art…
…a very wise man once said to me (back in1990). He may have been right but for the wrong reason. Should Art really be treated as a commodity and be sold as such? – ‘Stack ’em high, sell ’em cheap is not an effective strategy for art, unless of course your selling from a production line of ‘copy’ paintings, you know, technically good, but utterly soulless. The high street galleries are having some degree of success especially the well positioned bricks and mortar establishments. They really do use the web effectively. Many sell-out their latest exhibition on-line, even before they hold the opening night. A night which also serves a vital purpose for the prospective client to actually see the Artwork for real – then the deal is invariably clinched on the spot. Sounds good, but nothing has changed for the artist who hasn’t the right connections or a million+ followers on Instagram, he or she still don’t even get a foot through the door let alone a painting to sell.

But – and it’s a big but…
….will authentic original art win out in the end? Or will the major on-line galleries self appointed art selectors continue to advance those artists that fit the preferred ‘style’ of the month and advise their visitors of the artists who are the ‘ones to watch’ (read invest in) – thus employing the ‘stack em high sell em cheap (at first), then up the ‘anti’ later strategy – all with an ‘additional discount to buy’ of course, which the Artist who created the work in the first place has to ‘agree’ to accepting the higher percent they take off the top line. Will High street galleries continue to be flooded by the hopeful newbie or the forsaken mature painters ? To be honest they really don’t stand a chance of being let over the gallery threshold as a exhibited artist. High Street galleries have more than they can handle on the books already – so they tell me. And then of course we have the the on-line educators come experts (anyone can be an art expert if they say they are, all you need in a minor degree in sociology). They tell us – “How-to Sell Your Art On-Line” does this unquantified advise make any difference – or is that bull shit too? Only Time will tell. Real artists have to keep painting and have to wait and see with their eyes wide open to all the possibilities – or maybe and better still – perhaps artists should create their own ‘marketplace and stick two fingers up to the lot of them.

SPIKE is an independent art critic painters TUBES magazine and does not neccessarily represent the opinions of painters TUBES magazine – BUT WE DO LIKE HIM

©Spike2019

SUBSCRIBE TO TUBES

abstract painting the formal and the free…

The danger of ‘Art on Web’, if there is one, is there is possibly too much Art to look at. And perhaps too many twee images…

Abstract Formal and Free

a new beginning for abstract painting in the twenty first century?

By the turn of the century there was a significant uneasy feeling among creatives, it was because the conceptual, come installation art form, had dominated contemporary art for decades [in Europe], it had reached the point where it had become ‘institutionally-approved art.’ – and therefore only represented the Art Establishments opinion of contemporary art and no-one or little else. The conventional medium [painting] had not only been ignored unfairly, but often ridiculed by many academics as a serious medium to create a new contemporary art form.

This was more apparent in Europe than it was in the USA. Which had, in the main, accepted and had retained ‘painting’ on the curriculum of universities and art academies. This wasn’t the case in Europe, especially the UK, where slowly but surely ‘painting’ was removed not only from Universities curriculums but also actively eradicated by discouraging students of including painting in their portfolios for year ending assessments (some made a threat of immediate failure if they did so). Talent, skill, colour understanding and artistic authenticity became a thing of the past and all these later day basic elements and knowledge for art creation was declared ‘obsolete’ in favour of a Post Modernistic approach to art where plagiarism was not only allowed but expected of the student.

Not every one agreed with the post-modernism dogma, and many Artists, in general, became tired of restricting themselves to the non-physical involvement of art creation, mixed with the re-making of someones else’s original idea from the recent past and where the actual process of the creation was secondary, or unimportant. Disillusioned with the philosophy of post modernism and conceptualism, where only the ‘idea’ of a work of Art was the thing that was worthy of consideration, traditional painting became more and more attractive to Artists once again. This was despite the uneven handed approach to painting in the Art Education system. Painting flourished, especially with the underground artists, mostly dogged painters from the 1980’s, also the graffiti artists and with help of small exhibitions by the commercial galleries on some high streets and in provisional towns, painting began to prove that it was very much alive and had not ‘died off’ as it was predicted it would in the later stages of the Twentieth century.

The catalyst for paintings resurrection may have come from a movement that became known (in Europe) as the ‘Transavantgarde.’ Achille Bonito Oliva, an Italian critic overseen the new, or more appropriate, renewed an art philosophy that rejected the left wing [political] thinking in art and its corresponding artistic psychoanalysis. They returned to encouraging the use of traditional materials and the creation of Art imbued with not only talent but the invention of new image communication forms or symbolic signs. They gained an international audience in 1982 with an exhibition that was mounted in Rome.

The leading Transavantgarde artists included Chia, Cucchi and Clemente with Baselitz and Keifer in Germany, who are often thrown into the mix of the artists in this re-engagement with painting. What was also significant, was that a few artists in the USA seemed closer to the European Transavantgarde mind set than they did to the ‘pop’ or the ‘hyper-realists’ practitioners (for example, Julian Schnabel).

This goes to illustrate how the Art in the public view (media coverage), the one sanctioned and approved by art institutions, can be misleading, with the implication that Art is binary or lineal. Most artists know that Art is and always has been, dynamic and multifaceted.

We are only in the 17th year of a new century, but these last seventeen years are proving to be milestones in painting development, albeit not to the same extent that Cubism changed how artists think about how they could create a work of art.

The neo-expressionism of the Transavantgarde of the 1980’s led to more and more figurative interest in art creation. And in certain ways figurative abstract painting has asserted itself as the popular choice of many artists. Today figurative abstraction appears at the forefront of recent painting. It can take the form of abstracted human forms, landscape, emotional or personal experiences. The resulting artworks all carry something ‘real’ as the key element in the work of the artist. Art for Art ‘s sake, or Art as the object itself is no longer the main concern.

Picasso once said that… “there is no such thing as abstract painting, everything comes from something..”

What is apparent today is that the visual art playing field has widened and levelled itself to be inclusive rather than exclusive, as it was once was not so long ago.

Realism, semi-realism, abstraction in all it’s forms, gestural, expression, geometric formal, and informal and combination abstraction (objectivity mixed with non-objectivity), photographic/painting montages, video, digital art and graffiti, all have an active role to play in the kaleidoscope of todays visual art world. The whole history of art and art ism’s seems to have merged into an array of visually stimulating and exciting art forms, but only new in the sense that they are created in the ‘here and now’ and reflect that ‘here and now’ – it’s perhaps a more short sighted view of culture that is held today than it was in the middle of the twentieth century.