“For the painter, the codes and languages of painting, like the paint itself, are, by their very nature, slippery and amorphous.”
Download the essay ‘Natural Abstraction’ by Katrina Blannin which explores the related issues to the exhibition Slippery and Amorphous here
In an exhibition in London, British Painters Julia Ball, Hanna ten Doornkaat, Gemma Cossey, Terry Greene, Sue Kennington, Rebecca Lowe, Jason Miller, Ruth Philo and Marion Piper respond to the legacy of the work of Agnes Martin.
Download the essay ‘Lines for Agnes’ by Terry Greene which explores the related issues here
Download the ISSUU Publication: here
At the beginning of the 21st Century the painter Nathan Eastwood decided to take up new kind of painting to reflect the social realities and relations of modern Britain. In doing so he draws on the key influences in Kitchen sink realism and the work of van Gogh and Luke Fildes. Explore the work of this intriguing 21st century social realist painter in a new essay.
Explore Nathan Eastwood’s practice as a painter in this new essay here.
With the overwhelming amount of visual and written information being presented to us through broadcasting and publishing channels, we are seeing the emergence of conflicting news reports on the economy, war on terror, celebrity culture and the celebration of wealth in a time of mass unemployment, food banks and social poverty. It is within this context that an increasing number of artists are returning to the “aura” of the authentic art object and claiming it as their own. In doing this they are using the traditional genres of still-life, urban landscape, satire and modern history painting by commandeering the images they find on the internet, in newspapers, magazines and from their mobile phones. They are then reflecting the mass-media back on itself.
Buy a copy of the book Documentary Realism or download a pdf here
In this short article David Page looks at and into the picture space, considering the depth behind, in and before the surface of the painting…
Judith Tucker considers ‘postmemorial’ affects and the triangular relationship between language, memory and painting in this illustrated article originally published in ‘Interdisciplinary Essays’ (Rodopi Press, Amsterdam NY 20100).
‘Subjects are only starting points. The further I get from the point of departure, the more I can see the painting…’ Andrew Lambirth considers a recent series of paintings by Simon Carter.
Matthew Krishanu reflects on three approaches to painting figuratively: from life; from photographs; and from memory / imagination in this downloadable publication by the Courtauld published as part of their current Picasso show.