Joe Packer was the winner of the 2018 Contemporary British Painting Prize. This essay, by painter, critic and broadcaster Matthew Collings, has been published in the CBP Prize 2018 exhibition catalogue. The essay forms part of the prize.
Written by Nicholas Usherwood
Narbi Price was the winner of the 2017 Contemporary British Painting Prize. This essay, by writer and critic Nicholas Usherwood, has been written to accompany his solo exhibition ‘All I start will end‘ at the Herrick Gallery (26 – 30 March 2019). The essay and the exhibition form part of the prize.
Abstractions of experience
Essay by Terry Green.
A essay to accompany exhibition ‘A Road Not Taken’.
Painting and the metaphor of the journey.
Essay by Andy Parkinson
In 2017 the exhibition “Colour: A Kind of Bliss” brought together six British painters concerned with different approaches to the use of intense energy and luminous qualities of colour. Through varying densities of paint and chroma, saturation and de-saturation, their paintings realise direct emotive forms resulting in both subtly and vibrancy. Painting for these artists working in the field of abstraction/non-figuration is a synthesis of ideas, drawing and colour. Continue reading
By Terry Greene
Abstract art emerged from the United States of America in the 20th Century and has continued to evolve and flourish in 21st Century Britain.
By Dr Judith Tucker
To accompany the exhibition “Contemporary Masters from Britain: 80 British Painters of the 21st Century”, Judith Tucker of the University of Leeds explores the role of the tactile and ‘real’ work of art in an ‘unreal’ world.
An Essay by Katrina Blannin
Slippery and Amorphous Exhibition
“For the painter, the codes and languages of painting, like the paint itself, are, by their very nature, slippery and amorphous.”
An essay by Terry Greene
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. Continue reading
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…
By David Page
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 solutions. One of these ‘problems’ then is the depiction or creation of space before, behind or on the picture plane itself.
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).