2nd – 31st March 2015St Marylebone Crypt, 17 Marylebone Road, London, NW1 5LT Curated by Robert Priseman (founder of CBP) this new exhibition explores how contemporary artists are utilising painting traditions of the past to ask challenging questions about the social realities of the 21st century. Artists: Nathan Eastwood, Natalie Dowse, Nick Middleton, Alex Hanna,…
A new Contemporary British Painting group show featuring the work of 42 artists.Monday 8th December 2014 – Thursday 1st January 2015 Painting by Julian Brown Artists: Edwin Aitken, Amanda Ansell, Claudia Boase, Jon Braley, Julian Brown, Simon Burton, Andrew Crane, Pen Dalton, Lisa Denyer, Annabel Dover, Nathan Eastwood, Wendy Elia, Christopher Gee, Chris Gilvan-Cartright, Terry…
By David Page 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… Introduction What we used to call Modern Art has set itself a number of problems. Perhaps ‘problems’ is also a misnomer, because they do not entail absolute…
A major survey show of painters from across the UKIpswich Museums and Galleries: 1st November 2014 – March 2015 Curated by Simon carter this new show features work by over 40 painters from across the UK who are practicing the art of painting in Britain today. Ipswich Museums and Galleries – Art School Gallery Buy…
Susan Gunn: Can you give me a brief background to your life and how you became an artist please, Andrew? Andrew Crane: My dad would sit me on his knee and say ‘What shall we draw?’ I would try and think of something really tricky, but was always amazed at the life-like result! This was…
Katherine Russell: What led you initially to working with these ancient/traditional processes? Susan Gunn: During my foundation year at Norwich University of the Arts I was interested in historic methods and traditional ways of working. I began experimenting, working from recipes and formulas from the Ralph Mayer Artists Handbook,[i] the purported Artists Bible. I had…
Marguerite Horner: Right, how do you start a painting Katherine? Katherine Russell: Basically I have a lot of different source material that I gather, so I have loads of photographic material, piles and piles of it and I tend to work thematically. So, at the moment I am looking at ‘Filmic’ and so I have…
Claudia Böse: Why the title ‘Through each Today’ for this show? You have got interesting titles for your work generally. Why the title ‘Through each Today’? Can you say more? Marguerite Horner: I had this tune going on in my head and it was a song that we used to sing in kindergarten. I went…
Matthew Krishanu: Claudia, I guess the first thing is why ‘idiom two’? What does it mean in relation to the paintings? Claudia Böse: Yes. It is quite a complex word ‘idiom’. I wrote down a nice definition for myself to read out to you and then take it from there. (reading out) For me “idiom…
Simon Carter: The paintings on the walls to me – I’m going to take this from sort of like the base point – because I do know quite a bit about your work – but I’ll take from a base point – to me they look like those kind of photographs you find in a…
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). Judith Tucker considers ‘postmemorial’ affects and the triangular relationship between language, memory and painting in this illustrated article originally published as: Tucker J. ‘The Lido in the Forest: Painting,…
Nicholas Middleton: When I was looking at your work earlier today in preparation, it seemed to me that all your work is dedicated to landscape and I wondered if you had any thoughts on what landscape actually means in the contemporary world, if that’s not too big a question? Simon Carter: That’s a really interesting…
Matthew Krishanu reflects on three approaches to painting figuratively: from life; from photographs; and from memory / imagination in the essay ‘Painting the Figure – a Contemporary Practice Perspective’ as part of a new publication by the Courtauld for their current Picasso show ‘Becoming Picasso, Paris 1901’. Heres’ the downloadable pdf resource (file size approximately 3Mb).
Barbara Peirson: So Nick, I didn’t really know anything about you and your work until I was coming here on the train and I looked you up and so I’m now full of curiosity and maybe a good place to start is at the beginning. It would be great to know how you became a…
Simon Carter: The first thing I would like to ask you is whether you have seen the Alfred Wallis show at the Art Exchange at Essex University? Barbara Peirson: Yes I have. SC: Do you think there are things in Alfred Wallis that inform what you do? BP: Absolutely, there’s no doubt about that. SC:…
Andrew Lambirth considers a recent series of paintings by Simon Carter. ‘Subjects are only starting points. The further I get from the point of departure, the more I can see the painting…’ The theme and viewpoint of this new body of work by Simon Carter, made over the last 16 months, is that of a…