The 2020 painters TUBES magazine VR platforms upgrades are just the beginning enabling Artists work to be not only visible, but affordable and desired to the vast global audience. Our vision for a ‘Contemporary Art World System Reformation’… is now clearly in sight and it starts in April this year.
The VR magazine platforms are all operational with vastly increased reader audiences. Here are just a few of the links below for the new TUBES issues – The new TAG issues and an example of an Artists Exhibition Catalogue.
The new platform that covers Global viewers and the regular readers of Tubes Magazines are shown here – This is a truly mobile friendly platform, all operating systems viewable on iphones, Androids, ipads, slates, laptops and desktops – And at full screen and the ability to Zoom in and take a real close look at the Art (and the read the brilliant commentary and articles). The readers stay longer and enjoy all the Art shown. The online platforms updated base code ensures TUBES operates exactly as a real-life ‘magazine.’
Perhaps even more exciting (if thats possible) is the new TUBES VR 3D Gallery – The first exhibition launchs on 10th April 2020. This Tubes Artists Gallery is curated by Tubes Magazines Artists and Art Specialists – The first exhibition will demonstrate to Artists how to showcase and sell their work to a global audience – Exactly the same as a real life High Street Gallery with music overplayed and a human greeting and more.
The premiere invited audience (via a specially desgned personal invitation) can ask questions directed to the Curator or directly to the artist. All the paintings are correctly scaled on a beauiful and easy to navigate within a modern interior designed space.
A specialliy ceated catalogue for the exhibition is also provided – which is both online and printed (for posterity) and for distribution to the artists collectors, family and friends in advance of the exhibition premiere – Everything at a cost thats artists can easily afford and they will enjoy with a smile putting on those ***Red Stickers that will ensue with each visitor walking through the TUBES Artists VR Gallery Entrance.
***All the work is available to buy by Art Lovers and Collectors and on a very special interest free payment arrangement. This is an exclusive arrangement between the Artist and the Exhibition Curators to ensure a universal way to make Art affordable and easy to buy direct from the Artist for a mass audience – No fuss – instant Approval – and immediate Funds Transfer to the Creator of the Art – everyones a winner.
These upgrade to TUBES magazines is just the beginning – As an associate company working hand in glove with World Art Exhibitions Limited – Tubes magazines will also be mounting exhibition spaces in all World Art Exhibitions Limited & British Art Exhibitions planned major shows in Cities and Towns throughout the UK, Europe and the USA. Tubes will also be writing, designing and producing a catalogue specifically for each exhibition.
Art is changing – Tubes Magazines and World Art Exhibitions are at the cutting edge of that change as we move forward further into the 21st Century Contemporary Art World.
Artists – Join us today – Contact Denis Taylor – Artist, Writer and Editor in Chief via painters TUBES magazine and TAG – Tubes Artists Gallery to sign to discuss your part in the future of Art and what part you can play in it.
major new Landscape feature to be published in Tubes issue #16
painters TUBES magazine published the first Landscape special in 2017 with issue #5. It featured 22 artists both known and unknown, a publishing policy of which painters TUBES originated from issue #1 and through to the latest issue #15.
Painters Tubes is one of the very few respected contemporary art specialist magazines that do not ask for a fee or any financial obligation from the artists selected.
painters Tubes is also one of those rare online quality and content full magazines that is Free to read on line – with a subscription client list and regular readers list that purchase the printed version of our unique magazine.
Here are a few of the wonderful works of art that featured in issue #5 – If you are an artist who loves painting landscape more than any other subject – Tubes would like to hear from you. Please write to editor by email with your website url: email: firstname.lastname@example.org
Below are paintings of just a few of the fantastic artists that featured in the last Landscape special issue – You may well know one or two – All of them can be found on the web…Google their name (you will see under each photograph of their work) to go to their own websites.
These are only a few of the fantastic paintings in TUBES landscape #5 2017 – the next special Landscape 2020 will prove to be just as good – even more fabulous – if thats possible – The printed magazine (issue #5) SOLD OUT – in less than 48 hours – painters TUBES recommend you reserve your printed copy – Send No Money Now – Simply fill in the form below to reserve your own personal copy posted direct to your home – UK -EU -USA and Tubes will out you on the printed magazine list
Shaun Smyth, painter and Lee Harrison, photographer, have been documenting the Fiddlers Ferry Power Station. The concept is to show the complex machinery, building and the people of the power plant, provided the power that drove a 20th century industrial Britain.
The coal powered plant now in its last days of existence is on a scheduled close down by the end of March as the demolishers move in on the 31st. Fiddlers Ferry is one of the last five remaining coal fired power generation stations in the UK. It covers a huge amount of ground, and over the years it has seen an ironic nature spin off for the wildlife and water fowl, which have taken advantage of the ‘use’ of water the plant used for as a cooling agent and steam generator. Fiddlers famous Cooling towers can be seen across the North West of England with spectacular shows of steam rising to the heavens. One of the many images caught on camera, on video and in painted images by Smyth and Harrison.
The End Game is the demolition – which will be a visual spectacular, especially when the enormous towers come down. Yet there will be a touch of sadness about the whole closure. Despite the 21st century awareness that coal fired power generation needs to be stopped, for the good of the delicate balance of the environment as it is today, this power plant has been an iconic emblem of the North’s contribution to the wealth of the British Nation. It stand for a progressive, can do will do attitude, when it comes to independence and non-reliance on outside providers of essential energy requirements for a nation.
Shaun, Lee and Denis Taylor at Fiddlers Ferry in front of the first completed painting
Smyth and Harrison and to a great extent with the inspiration, ideas and support of the [silent] third member of the project (Denis Taylor artist and editor of Tubes) will present a two part set of exhibitions. One of the first will be at the fabulous Pilkington Glass Museum in St Helens (November 2020), with further venues that will be offered the current completed works (paintings, photographs and video) for the show: “Fiddlers Ferry as it Stands” and a follow up show: “Fiddlers-Ferry as it Falls.” both shows acting as historic records – a complete record which one imagines will be permanently housed in an industrial dedicated Museum for future generations to view as an historic visual education.
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. The2020-2021 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.
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-upexhibitions starting in Manchester April 2020.Book your space by going tohttps://www.worldartexhibitions.co.uk/
World Art Exhibitions, TUBES and TAG company information
painters TUBES+TAG – Owned, designed and published by Studio 5 Sweden. -253 Ekerodsvägen266 95 Munbka Ljungby, Ängelholm, Skåne, Sweden. www.painterstubes.com. www.painterstubes.galley – www.tag-tubes.com – email: email@example.com. firstname.lastname@example.org and email@example.com Swedish Office mail: firstname.lastname@example.org
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).
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/
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’
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 ofpainters 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.
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.