When you think of the word ‘Revolution’ another word automatically springs to mind to precede it….
extract from the essay:
…When you think of the word ‘Revolution’ another word automatically springs to mind to precede it. American is one, French and Russian perhaps are others. These Revolutions involved violence, out right war and sudden social changes. Few people automatically think to put the word ‘Industrial’ in front of that emotive word. Maybe because the ‘Industrial Revolution’ was more of a ‘slow burn’ and happened over time, a slow change to society rather than a dramatic instant thrust of evident and far reaching dramatic changes of the social fabric like the well known revolutions.
Yet the industrial revolution was by far the most important and influential revolution that has ever happened to civilisation since someone in the middle east discovered that a seed bearing plant could be turned into food (bread). That particular amazing ‘discovery’ enabled ‘spare-time’ for humanity to develop other skills and helped to propel a human society beyond the limitations of living as the nomadic hunter gatherers that humans had been living for millenniums up to that point.
For our story, about how the industrial revolution affected Art and Artists, let’s start by making some educated assumptions as to why the Industrial Revolution came about. Without labouring on the individual details too much, you could say it was the need to increase productivity for goods to trade with for a growing population. Initially, the energy needed for these goods was provided by manual labour, mules or horses to haul the wood that gave-up it’s stored energy, directly or through the making of charcoal that provided the power to make other things, like smelting metals or firing pottery. Manufacturers also used ‘water driven’ machinery to increase productivity in food production (i.e. bread). And then the most important source of energy of all was unearthed (literally) as the best energy source of all, Coal. This was, by far, the most important of all the energy sources, because it was cheap, plentiful, efficient and England, in particular, had plenty of it. The fact that ‘Coal Power’ greatly expanded the production of goods is unquestionable and it was to change the face of Western Civilisation as much as ‘ Crude Oil’ did in the latter part of the 20th century. continued…
“common ground.” will be exhibited in the art School’s fabulous building and exhibition space.
Featured in the upcoming issue #8 of painters Tubes magazine, will be Ian Mood, a painter who is creating a unique series of work based on his Grand fathers paintings of Stoke-on-Trent. It’s an idea that emerged slowly over time and Ian has now established a project studio in the Stoke City Centre, to make the idea a reality. During our Editor’s visit, Ian introduced him to the trustee’s of Burslem School of Art, http://www.burslemschoolofart.com/, that also have a fascinating story to tell.
Ian’s series of work – “common ground.” – will be exhibited in the art School’s fabulous building and exhibition space. Tubes issue #8 will be discussing the project and taking a general look at Ian’s work over the last years, which includes some unique semi-abstract (expressionist) paintings dealing with the human form and also his earlier landscape paintings…Tubes issue#8….not to be missed.
it was a very cold Easter Saturday we visited the Copenhagen Art Space for an annual exhibition…
It was a very cold Easter Saturday that both myself and Marianne (sub-editor of Tubes) visited the Copenhagen Art Space for an annual exhibition. The venue is situated in the developing Nordhavbn (North Harbour) part of the Danish Capital City. The venue known as ‘Docken’ is a space which is expansive and well appointed. Art Space 2018 is an Art and Culture event that is approaching ten years old. The show runs over three days which may bring to mind Art Fairs in the UK, however this exhibition has the feeling of a Salon, rather than an Art Fair.
The warm laid back welcoming that you get when entering the show made up for the bitter cold wind outside and allowed you to really enjoy what’s on offer. It was a breath of fresh air to witness the space given to each artist who exhibited, of which their were Sixty, all showing high quality, original, authentic work that was diverse enough for everyone’s particular taste. I began thinking that the space and the way it was presented could be a guiding light for the UK and Artists to organize themselves to mount this sort of exhibition in similar spaces in the UK of which there are plenty available.
For me it was an opportunity to catch up with an old artist friend, Preben Saxild, an artist I had exhibited with in Stockholm at the Heart 2 Art exhibition in 2002. And one who’s work I have been following since before 1998. Preben has developed as an artist from being a very talented abstract expressionist, through to creating his unique landscape phase, and now a new line of work which is montage based, but with his own unique ‘take’ on life, one tinged with ‘irony’ political comment and sheer luxurious image making.
issue #7 of painters TUBES magazine featured four brilliant artists each with their own article..
Here is the extract from one of those articles… Patrick Blower – famed as a cartoonist for the Telegraph in London (UK) but he is also known as an accomplished painter..
“Politicians get drowned…by the wonderful seascapes of Patrick Blower”
As the Editor of Tubes I often make trips to visit artists studios, sometimes unannounced, and very occasionally I am lucky to view some fantastic paintings, ones that are totally unexpected. This was the case in my recent visit to London and the Make Space Studios in Lambeth. I’d gone there to catch up with Laurence Causse Parsley, another artist who was featured in issue #5 (Landscape..from Poussin to today). After we chatted for a while about her recent work, she gave me a guided tour of the large building which housed up to twenty artists or so.
Laurence escorted me round the labyrinth of corridors, gently tapping on various doors to introduce me to those artists that were behind them. It was one of those days wintery days in London, the kind that, if you need not venture out then it was better to stay in and watch You Tube videos. The skin-penetrating drizzle was driven by a biting wind, which was enough to put off most of the artists from journeying to Lambeth.
However one of the artists that made the journey daily, rain or shine, was Patrick Blower.
Laurence tapped on his door, and a voice shouted “come-in:”
As I walked into his studio his out-stretched hand was married with a broad smile, which immediately endeared me to him. I spoke a few a words to introduce myself, he reacted to my short personalintroduction with “You’re a Manc.” (sic: someone born in the City of Manchester, North West England, ‘Manc’ being a specific term to identify place of birth and specific culture). Patrick’s accent was soft, with a definite southern twang. His quick witted, almost caustic humour was however totally natural and inoffensive. It came as a surprise to me, to learn later, he was actually born in Brussels (1959) to a Belgian Mother and a British Father. He says his “ head is in London, his heart is in Europe and his balls are somewhere over the North Sea.”…continued in the back issue – available soon,
The on-line ‘competitions, to my mind, are simply a money gathering exercise, full stop.
‘Spike’ the resident critic of painters Tubes magazine take a stab at the vanity galleries and the ‘pay for’ to enter competitions and art fairs.
Vanity and pay for exhibition spaces or Galleries, are they worth it?
” So, what is an alternative to the favoured High Street galleries for the artists who cannot break the cycle of rejection, (however reluctant that may be, from a Galleries viewpoint). The so called ‘Vanity’ galleries have been around for decades and over the last two decades they have sprouted up everywhere, in one form or another. It is rarely they that are bothered or (overly) concerned about the quality of the artists work, the ones who wish to pay them for their space.
This type of gallery is in the business of renting ‘the space only,’ usually in a well located high street shop, for a profit. They use a branded banner on the outside and send out invitations of ‘applications,’usually from commercially acquired mass emailing lists of artists, ones that are gleaned from, you guessed it, Social Media platforms. Some advertise directly on mass media or other social media with attractive wording that will entice the Artist to go one step further and start a conversation with their ‘curator’ (read Salesman). It’s only when you actually read the ‘deal’ that you discover that it will cost a ‘shit-load’ of your own money, that you begin to temper the ego and dreams of exhibiting in a gallery with that of your own financial reality.
Those who are brave and drown out the ‘money’ objection, one being screamed at them for all corners, convince themselves that they will ‘break even’ financially – if only given the chance to show their work, but usually they have either, miscalculated the cost, or are unaware of what it takes to ensure a reasonably successful ‘selling’ exhibition. Or they simply cannot get past the artistic‘blue-sky’ thinking syndrome. Not so long a go I did a cost analysis of exhibiting in a ‘pay-for-space’gallery. This was based on an out of City centre location, (in the UK) with reasonably accurate costs for space, marketing, transportation and so on. The final figure came out at a cost for a 5 to 6 day solo exhibition of around £3500 ($4,800). Major City centre space was nearer double that price, when I looked further into it. That’s a lot of painting to sell, based on the market average price for a half decent sized canvas for an unknown painter, at the lower (attractive) ‘stip-end’ market price level of around £350 each (circa $500), So is it worth it? Just for friends and family to rub ones ego and confirm you are a good artist?
How about selling on the web and creating a virtual reality exhibitions on your own website?
Sure, but I would suggest for that to be really successful, (i.e. selling on a regular basis for a consistent period of time) the artist will need a very good e-commerce enabled website (i.e. one that is not cheap to acquire and maintain) – And spend a great deal of time making strategic posts on social media – Or hire someone to do that specific task, and with a regular advertising budget. In this case I would suggest an annual budget for Marketing and PR of in excess £3000 per annum, for doing it all yourself, or £5000 to £8,000 annually, to hand this ‘job’ over to a professional full time SEO and art marketeer to do it for you. Who will no doubt, not give you any guarantee of a return for your money.
How about entering Art Competitions to gain recognition?
Why not, if you can live with the rejection element, nine out of ten times of entering the ones that, according to their pre-publicity, ‘give You the chance of lifetime’ to be internationally famous. Let’s be honest here, it’s a bit of lottery. The important thing to remember is, who does the judging – Usually there is an academic, a curator, another well known person who knows (not a lot) about art and the winner from the previous years competition. So the winning entries are somewhat vacuous in their preferences because of their own bias to one form of art or another. There again, if you actually ‘Win’ or come second or third, what does it bring you? – Well if it’s a National Competition’ then about 15 minutes of fame and a commission from the sponsors of the Competition, and loads of Facebook likes and messages of congratulations (ego gratification again). Plus, maybe 3 minutes on a You Tube video interview or a feature in your local newspaper.The rest of the smaller comp’s are really a bit like Vanity Galleries, except they don’t make as much money out of the ‘customer’. It can cost around £30 to enter three paintings to an ‘average’ competition – And if you are short listed you have to physically take your paintings to a central point – for ‘further judging’ and then schlep them back again (when rejected), which can cost you up to ‘whatever’-depending how far away you live form the nominated place of ‘drop-off’. The on-line ‘competitions, to my mind, are simply a money gathering exercise, full stop. And, again only in my opinion, are really not worth bothering with – unless they are free to enter of course.
Read ‘Spike’ in painters TUBES magazines issues on line subscribe here
The exhibition “defining the elemental is an exhibition of painting in the UK.
Photograph below: Contemporary Artist, Denis Taylor in front of the installation at Crossley Gallery, Dean Clough, Halifax, UK
The exhibition “defining the elemental is an exhibition of painting in the UK. The ten artists participating are showing authentic work that covers contemporary landscape, portraits and new abstract painting. The extensive venue is the Crossley Gallery which is within the extremely large Dean Clough business and culture complex in Halifax, West Yorkshire.
The exhibition began in October and ran through to 12th January 2019. Many of the artists were renown throughout the North of England and beyond for their progressive, dynamic, semi-realist and abstract new work, such as, Denis Taylor, Ian Norris and Jeanette Barnes along with major project painters such as Shaun Smyth and original impasto styled (inspired by Kossoff/Auerbach) portraiture work created by Richard Fitton and Barry De Moore.
reviews appeared in issue #10 of painters Tubes magazine.
extract from the review in the magazine….
This is a show that has ten painters and writer who has created poems for the works on exhibition at the Crossley Gallery venue inside the expansive Dean Clough complex.
In the introduction David Traves points out the inspiation of British 20th century painters such as David Bomberg, Leon Kossof and Frank Auerbach, that some of the participating artists may have been inspired by, although that is referring to paint application, more than it is to the subjects.
The selected the group of artists was mostly chosen by Shaun Smyth.
The original concept and title for the exhibition. “Defining the Elemental” was his original idea and it conjures up a whole range of meanings behind it. Essentially the artwork to be shown is primarly based in nature subject matter, although one or two of the artists have expanded that to include the human figure and pure abstraction, work that perhaps have broader and more expansive meaning, as far as the human race is concerned. i.e. “initium aquam”(Latin: Life began in Water) by Denis Taylor and “Rebuilding ground zero” by Jeanette Barnes. Richard Fitton, another fine painter, shows some new work, one in particular that is removed away from the impasto paintings he is known for, to a more delicate surface finish and his growing concern for the drawing content in his creative output (e.g: “Amy” mixed media- on loan from a private collector). Ian Norris exhibits his highly developed semi-abstract work with his accomplished and fabulous handling of paint, work that is always backed up by dedicated charcoal sketch works.
painters TUBES favourite art critic and muse, known to all unsundry as Spike, returns to the latest issue with a pragmatic look at the back side of Art – business and selling. What follows is a extract from the full article that you can read free on the latest issue of painters Tubes magazine…
Showing paintings on line, is now 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). That “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 few years. 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 in 2009 and is still having an effect now, not to mention adding to the problem with (thinking here about) Donald Trump and the European Union on the brink of collapse helped along by French Riots, and No Deal Brexit.
Today, more than ever, high street galleries need to sell ‘more-stuff’ and earn extra profit to pay those stupidly high ‘business rates’ in the major Cities – And lets be honest, paintings sell much quicker than sculpture or worse those ‘cool’ avant-garde installations of nonsense 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 usually there is a heavy price tag for that sort of contemporary bull-shit art. Consequently the contemporary ‘arty farty’ marketplace is tiny compared to the ‘popular paintings’ art market. Even though there are only so many landscapes that anyone can put in their homes. That market will also run dry soon unless some risk taking by galleries start, pretty damn quick.
The sheer size of the (art) market (because of the www) 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. Even Tubes magazine are having a go (although they already know there is no money to be made so why bother trying – the space it is giving to artists is in keeping with the magazine policy – Art before Money at all cost).
The one man art galleries start-ups fail quickly- some have a sort of ‘in the third year we will make money fiscal plan’ and obtain a bank loans. Most, in reality, loose much more money than they bargained for and are wrapped up prematurely by their investors (or more commonly the Bank) the ones that backed the idea (with solid security that could be recouped) in the first place.
Today it’s not a case of chasing huge profits for many galleries, on the contrary, it’s survival we are talking about here. Many on-line outfits are simply losing too much money, year in and year out. “..there is no money in Art..” a very wise man once said back in 1989.
He may have been right but for the wrong reason, as far as I am concerned. Should Art really be treated as a commodity? And be sold as such? – Stack ’em high, sell ’em cheap is not an effective strategy, not for original art, so when times get tough, (in Art) the tough bottle it.
“Defining the Elemental” Dean Clough. Halifax West Yorkshire – Preview of the exhibition
“Defining the Elemental Exhibition”
Dean Clough. Halifax West Yorkshire
27th October through to 12th December 2019
Preview of the exhibition
This is a show that has ten painters and writer who has created poems for the works on exhibition at the Crossley Gallery venue inside the expansive Dean Clough complex.
In the introduction David Traves points out the inspiration of British 20th century painters such as David Bomberg, Leon Kossof and Frank Auerbach, that some of the participating artists may have been inspired by, although that is referring to paint application, more than it is to the subject.
The original concept and title for the exhibition. “Defining the Elemental” was his original idea and it conjures up a whole range of meanings behind it. Essentially the artwork to be shown in the main is based on nature, although one or two of the artists have expanded that to include the human figure and one or two with pure abstraction work that perhaps have broader and more expansive connection with the title of the show, i.e. “initium aquam” (Latin: Life began in Water) by Denis Taylor and “Rebuilding ground zero” by Jeanette Barnes. Richard Fitton, another fine painter, shows some new work, one in particular that is removed away from the ‘impasto paintings’ he is known for, to a more delicate surface finish and his growing concern for the drawing content in his creative output (e.g: “Amy” mixed media- on loan from a private collector). Ian Norris exhibits his highly developed semi-abstract work with his accomplished handling of paint, art works that are always based on dedicated charcoal sketches.
Nicki Heenan and Miranda Richmond are to exhibit their delightful and unique landscape paintings along with ‘imagined’ landscape paintings of Richard Clare and the more definite subject based work of Stephen Stringer. Shaun Smyth shall be showing a large panoramic painting of the Mersey Gateway Bridge, one of the many works that are to be shown at the Brindley Gallery, Merseyside with the exhibition ‘Constructing the Mersey Gateway Bridge’ (18th February 2018 to 5th April 2019). Shaun will also demonstrate his dedication as a skilled draughtsman by placing several charcoal sketch pieces next to his large painting. Barry De More, another painter whose work gives more than a nodding reference to Kossof and Frank Auerbach, will show works that range from the local environment of Keighley to Bradford (Yorkshire UK) to images of industrial workers on site.
All the painters and the work have a dedicated poem (prose) created by David Traves. His writing also extends to the brief introduction of the exhibition catalogue. David concentrates on his own reaction to each of the painters and their work and gives his own personal interpretation of the essence of each artist, words that are laid out in a classical manner, or style (i.e. short lines of words), but with deeper meaning behind them, meanings that perhaps encourages the reader to think more about the Art, and the artist(s) who created them.
All the work is available for acquisition by art institutions, public art galleries and the private art collector. Interested parties can contact, Crossley Gallery at Dean Clough (https://www.deanclough.com/) the artists directly or via the painters Tubes magazine contact form.
The exhibition runs from the 27th October 2018 through to the 12th January 2019