TAG #3 Tubes Artists Gallery

Tubes Artists Gallery will be published on the 20th October- it will feature 10 artists selected from the painters TUBES closed group on Facebook.

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artists join the closed Facebook Group and have your Art featured in the Gallery publication

TAG#3 – Tubes Artists Gallery will be published on the 20th October- it will feature 10 artists selected from the painters TUBES closed group on Facebook.

To buy your personal  Printed Copy of TUBES ARTISTS GALLERY  Click Here £5. plus post and packing (UK) Europe, Canada, US £10 inclusive of p&P

Here are the ten artists that are featured in TAG#3 – Cherie Grist, Anthony Barrow, Claudia Araceli, Arwyn Quick, Jocelyn Roberts, Dave Bez, Martin Dobbins, Claire McCarthy, Martin Davis and Ron Etherington.

The group of painters now running at over 350 members consist of all types of painting genré – landscape, classic and contemporary, portraiture, abstract expressionism, formal abstract, new expressionism, naive, digital paintings and a whole array of new mediums.  If you are a painter and want to share your work to gain comments, positive encouragement and ideas and be in line for selection as a featured artist in Tubes Artists Gallery

 JOIN US… Sign in to Facebook – go to @painterstubes – give a ‘Like’ and click on the blue visit group button – answer the question… “where have you exhibited?” –   And you will be made a member (subject to the conditions and regulations of the group).  There is no fees or charges and TUBES does not ask for any monies for artists features in the Gallery or in the main mag.

painters TUBES on Facebook
go to @painterstubes to join us on FaceBook

TUBES readers information: painters TUBES magazines are independent art publications. They are designed and produced at Studio 5 Angelholm in Skane, Sweden.  They are printed in the UK and Administered by artists. The magazine branding and it’s associated url’s are: ©2013-painters TUBES magazine.com, ©2019-paintertubes.gallery and ©2019 TUBESmag.com –  All are registered and owned by the Taylor [TUBES Family]. The Tubes family consists of : Barry Taylor. Financial Consultant.(UK)  Denis Taylor, Artist, Writer and current Editor (Sweden and the UK). Marianne Arnberg Taylor. Artist and Assistant Editor (Sweden). Adam Taylor. Reporter (UK). Distributors. Lynda (nee: Taylor) & Paul Slater (UK). Past and present Current major projects include: Constructing the Mersey Gateway Bridge – Shaun Smyth, Exhibition at the Brindley Centre 2019. UK. “defining the elemental” Mixed artists exhibition, Dean Clough, Crossley Gallery, 2018-2019. The Second Nature Project. UK and Europe, panel discussion and exhibition – 2020-2021. Fiddlers Ferry Project 2020-2021- Lee Harrison and Shaun Smyth  North West England Exhibition of Photography and paintings. The Docks Project- Paintings, video, portraiture with  Claire McCarthy and artists associates. Liverpool. North West UK. 2020-2021 Contributors/Writers: (past and present)  Gregory Evans, David Tycho, David Mark Lloyd,  Cahil Art Consultant, Colin Taylor, Dean Entwistle, Laurence Causse Parsley, David Traves, Diane Terry, Barry De Moore. Resident Art Critics headed under the  ‘Spike’ generic label: consists of  Paul Constantine and Barry Ornszitt and Denis Taylor.

painters TUBES issue #13

Excellent Article on plein air painting – a brilliant essay by Gregory Evans – Taking risks. A review of the legendary Russell Howarth (master painter from the North of England by Marianne Arnberg)  New contemporary paintings from the UK, Europe and the USA  Plus a new TUBES section where artists get to talk about their own words the new section is called “in their own words” – This issue Mark David Lloyd gives a great overview of his practise.

TUBES magazine new issueNEW ISSUE – READ ON LINE CLICK HERE

In this issue:  Excellent Article on plein air painting – a brilliant essay by Gregory Evans – Taking risks. A review of the legendary Russel Howarth (master painter from the North of England by Marianne Arnberg)  New contemporary paintings from the UK, Europe and the USA  Plus a new TUBES section where artists get to talk about their own words the new section is called “in their own words” – This issue Mark David Lloyd gives a great overview of his practise.

This is how Google explain what plein air painting is…
“…en  plein air  is a French expression that means “in the open  air.” It is used by  artists to  describe the  art  of outdoor  painting, capturing landscapes and views in natural light. This kind of  art  has been a popular practice for centuries and requires specific skills and techniques.”

Do you agree with that definition? Technically it is correct, well the first part is, I mean it is French for in the open air, but what about the rest of the statement. Is it really used by artists to describe their work? Or is it used more by Art professionals, galleries, social media platforms to place this sort of art into a convenient ‘art’ box? – personally I think the later rather than the former is correct. Does it need a special skill ? Not really, painting is painting isn’t it? Not matter where or what you paint with or even on, inside or outside, it’s more complex than the skill – it’s more complicated than just having some sort of natural talent or a gift for transcription of an object or scene that is in front of you.” – intro written by the Editor of painters TUBES magazine

Contemporary Artists featured in this issue: Amanda Oilphant, Russel Howarth, Brian Cote, Gregory Evans, Helen Skidmore, Mark David Lloyd, Richard Suckling, Stephen Stringer, Niki Heenan, Barry De More – Edited by artist and writer Denis Taylor.

 all future issues of painters TUBES magazine on line will carry a small fee. Single Read will be £3 – with 6 magazines subscription at only £2 each  SUBSCRIBE FOR SIX ISSUES (ONE YEAR) – CLICK HERE

links: Denis Taylor personal website:http://denisartist.com

SUBSCRIBES LINKS : BUY ONE PRINTED MAGAZINE   SUBSCRIBE FOR ONE YEAR – SIX PRINTED MAGAZINES.

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illusionary world of artists freedom…

an illusionary world of Artistic freedom. article written by the Artist Denis Taylor.

I strayed across an interesting old video on You Tube. It was was on those that you find popping up on a feed after you have watched something similar, which is annoying. But, it got me thinking about the relationship between Artistic freedom and Modern Religious Art. This particular You Tube discussion, come lecture, come educational piece, was presented by a line up of tenured academics and young post graduate teachers.

The panel argued how Contemporary Art institutions reacted negatively to work that was based in some sort of religious subject.The discussion started after an initial lecture by one of the Academics, David Thyrell. So began two hours of surprising statements, amusing quotes, some fairly logical reasoning, heart felt speeches and many contradictions from an art academic viewpoint.

painting of a Saint by Italian master in TUBES magazine.

Thyrell reckoned that… “Only Art that is critical of (western) religion of faith is acceptable as Contemporary Art. And all other art that could be read as religious, is translated to one of a post minimalistic view.” (And)…”that all references to faith and religion is edited out at source”. (And)…”the contemporary Art world does not seek any debate on this form of art because they see it as non-progressive, as propagandistic and not supportive of an advancing culture or indeed, enlightening mankind for the new centuries ahead of us.”Thyrell spoke with passion and summed up his lecture by stating”it seems, that religious work that is non-specific, for example, non-stated religious, ambiguous or totally abstracted with very loose associations, are acceptable as Contemporary Art. Providing the images are not from a Judeo Christian slant. However, the tribal, the Asiatic or the cultism subjects are OK.“

Judaeo-Christian made up the bulk of the audience (note: it was held at a Roman Catholic University) I guessed they must have been appalled by the status-quo of the implied bigotry against religious art levelled against the- ‘Artists of Faith’ – as they call themselves. For me personally, there is no need to be religious specific to appreciate (or create) Art that is good, even if that Art owns its very existence to institutions of any religion persuasion who sponsored it, or indeed created by an artist that holds a particular belief system or faith.

Detail of a painting by Pontormo in painters Tubes magazine
detail of Pontormo’s ‘deposition’ (1525‒28) at the church of Santa Felicita, Florence

Good Art is what floats my boat, I don’t care who or why or for whom it was created for.

As for the rest of the Art that floods the web and the mass media art reviews, much of that Art that personally I find sort of shallow, egoistically based, trendy or with intellectual invested admiration intentions, I simply pass quickly by, metaphorically speaking, without so much as a cursory thought. For me to be anguished by an Art as the above, only goes to validate it as important to human cultural advancement, which I think it is not.

Most artists, (those I do know personally), when looking at a work of art that could be deemed as ‘Religious’, tend to ignore the possible original intended propaganda or dogma of it, but rather they concentrate on the pure magic of the Art work in front of them. For example some the work of by Pontormo and El Grego, to mention only two (religious) painters of the far distant past, whose work I greatly admire and gain much from. After a while I began to feel that the lecture, come debate, was myopic, but Thyrell’s argument did instigate an examination of my own thoughts on the subject of Modern Art & Freedom of Creation and Modern Religious beliefs in our, so called, multi-sectarian developed Western societies.

If a contemporary artist can go beyond an intellectual subject matter and demonstrate a visual power conducted via an innermost and deeply held belief, then surely that is still a vital and sustainable contemporary Art, is it not? No matter what religion the creator of that art subscribes too, or not as the case maybe. After all, isn’t atheism a brand of religion by another name?

The Rothko Chapel in Texas -article in painters Tubes magazine
Rothko Chapel Texas USA (rothkochapel.com)

If we look closer to our own time, rather than the centuries when the Church and Monarchies of Rome and Spain dominated major art commissions, say from the early and middle centuries, we can find a new sort of religious art. Malevich, Kandinsky, Mondrian and the like studied theosophy and talked of a ‘spiritual’ art. Pollock, used the practises of the the Indian Sand Painters, which involved connection with ancestors souls or spirits. Rothko and the gang of colour field painters also spoke of mediative involvement and introspection. Are all those artworks a form of religion? If you have ever visited the Rothko ‘Chapel’ in Texas, you’ll know what I am talking about. And what of Chagall. Are his paintings nothing more than illustrated nostalgia based on childhood memories of stories taken from the Old Testament? Or let’s take Vincent Van Gough, was not his paintings a projection of the love of nature reinterpreted through his own deep seated belief in a universal God? How about Agnes Martin or Sam Francis, each with a Buddhist inclination for transcendentalism or meditation. Is that not religious Art ?

Sam Francis, painter in his studio in paintersTubesmagazine
Sam Francis painting in his studio

In the early 20th century the word nihilistic art was being brandished about to describe the work of the Futurist (Italy), whose dogma was Machines and War to cleanse society and shock it out of it’s perceived malaise [of the time]. The Dada movement used the same framework with banal poetry, non-sensical drama and outlandish visual presentations [to hide away from and in reaction to the horrors of World War One]. Again, the essence here is that the Dada movement believed in something – however abstract that was – rather than nothing. And this obtuse oddity of their belief carried on manifesting itself decades later as the impatience of post-modernist [young] artists and the ambitious driven post-post modernists, and the current belief that ‘selling art, means that it must be good ‘Art’ – And made by a succesful artist (rounds of applause by living painters, can be heard here on instagram and facebook) which where I guess we find ourselves in today’s visual art world.

Though, just maybe the web is changing the ground rules. I don’t know about you, but when I view art on the web, I find more and more of it has a growing and obvious ‘belief-structure’ of some kind behind it. And much of it is good Art, mostly created by ‘unknowns’. Sure, there is still that twee stuff and the obvious bash it out to sell it for financial gain ‘ hamburger art’, not forgetting the overly academic art whitterings of art professors and so called art intellectuals who try to convince the audiences in the cities of the world, that this piece of stuff or that offerings of purely conceptual ideas, is great progressive Art (and not just simply a novel or good idea). After all it does put a high monetary value sticker on it, provided it is accompanied by the obligatory academic recommendations, especially if the Art has the blessings of Art Directors of state run institutions.

Affirmative Art, an essay by Nigel Whiteley in painters TUBES magazine

So, do Artists have total freedom to create what Art they want?  Maybe not entirely, if you agree with David Thyrell in the You Tube video I mentioned earlier. Is Religious Art (in all it’s manifestations) making a comeback? The Zeitgeist signs suggests it may well be, but not in the ‘normal’ sense of the word. In this world of the politics of infusing the inhabitants with psychological terror, global climate change fear, mega disaster predictions, the accelerating greed for money and power, irresponsible political leaders and not forgetting the inhumanity to humanity we witness daily, a world that we live in today (and perhaps always have). Maybe it’s not such a bad ambition for visual artists to ascend to a higher level and start to transmit messages of hope. And if you’ll pardon the religious, (come 1960’s hippy reference and of course the Artist known as John Lennon) visual art messages of Love and Peace, for all who reside on this tiny insignificant planet tucked away in the corner the limitless time and space of the universe.

As David Byrne once wrote,

Heaven is a place, where Nothing ever happens.”

So, now I have to gather my courage and meander slowly to my studio, where another blank space awaits. I wonder what will appear? I guess I just have to have faith that something of real artistic value will show itself, maybe even holding the restorative creative power of the universe itself ?

One never knows, that’s one reason to be an Artist, isn’t it?

©2018/2019 written by Denis Taylor, Artist and Editor of painters Tubes magazine

the universe - on painters Tubes magazine
small part of the many Universes – photograph from NASA

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The Web Highway or the High Street way? Spike muses over selling Art

painters Tubes magazine-article

‘Spike’ where do artists sell their paintings?

A year or two ago I read an art exhibition review which was pretty damming, not only to the exhibition in question, but also to the artist who made it. This wasn’t an anti-post modernist twentieth century rant, nor was it an intellectual twenty first century tirade of what Art should be or indeed what it actually is. Not at all, this review was more like the angry comments one sometimes reads after an essay about Contemporary Art. You know, those rants at some arts columnist who infuriates everyone with his almost myopic intellectualism that uses sentences filled with nine letter and twelve letter words that were lifted from a thesaurus the night before. To be honest, at first I laughed and then I was taken aback at the ferocity of the attack and then I felt really pissed off….

…the newspaper reviewer started off with, “that he found the exhibition so boring, that he could hardly find anything [to write about]. So, what was this horrendous exhibition he was so incensed about? – Artists vomit ‘installed’ on the floor of a gallery perhaps? Or maybe a live performance of an artist asleep?  Maybe digital prints of someone else iPhone selfies? Or even a person standing and staring into space for an hour or two naked in the middle of a gallery whistling out of tune? Nope…  none of those, it was a visual art exhibition showing paintings hung on a wall. Paintings, the most ubiquitous of all art was what this supercilious art critic railed against. He announced that painting (as an art form) was dead if not buried. So what if the artist had mounted an on-line exhibition instead of a bricks and mortar gallery exhibition? Would he have had to encountered such negativity and venom against the artist and the work? I don’t think so. On-line etiquette is far too well enforced, as far as commenting (read criticising) art is concerned. If you do critic any art on line – well, you know what happens guys…you get a bad case of the International Troll Gang gunning for you, social media is vicious towards critics. It’s sort of reversed in real life.

Do you Sell on line?
Showing paintings on line, seems to be 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). Perhaps this particular critic didn’t realise that the “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 decade or so. 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 way back in 2008. High street galleries need to sell ‘stuff’ and earn a profit – And paintings sell much quicker than ‘cool’ installations 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 the institutions are happy to underscore the ‘Art’ as a thank you for the generous support (financial donation) made by the mega white cubed gallery brigade, whose artist is the latest exhibition in the museum. ”

William Shakespeare - There is something rotten in Denmark - article in painters TUBES magazine
“there’s something rotten in Denmark, me thinks.”

Yet, the installation art marketplace is tiny compared to what the two dimensional art market is and I think the galleries have woken up to that as a fact – so now painting is the ‘thing’ again. Today the sheer size of the visual art market (because of the internet and the web) 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.  Many of these artists and the one man art galleries start-ups fail quickly- some have a sort of:- ‘in the third year we will make money plan’.  Most, in reality, loose much more money than they bargained for and are wrapped up prematurely by the investors that backed the idea in the first place.  It’s not a case of chasing huge profits for many galleries though, on the contrary, it’s survival we are talking about here. Many on-line galleries are simply losing too much money, year in and year out. Consumers are going direct to source these days, via instagram.

“there is no money in Art…
…a very wise man once said to me (back in1990). He may have been right but for the wrong reason. Should Art really be treated as a commodity and be sold as such? – ‘Stack ’em high, sell ’em cheap is not an effective strategy for art, unless of course your selling from a production line of ‘copy’ paintings, you know, technically good, but utterly soulless. The high street galleries are having some degree of success especially the well positioned bricks and mortar establishments. They really do use the web effectively. Many sell-out their latest exhibition on-line, even before they hold the opening night. A night which also serves a vital purpose for the prospective client to actually see the Artwork for real – then the deal is invariably clinched on the spot. Sounds good, but nothing has changed for the artist who hasn’t the right connections or a million+ followers on Instagram, he or she still don’t even get a foot through the door let alone a painting to sell.

But – and it’s a big but…
….will authentic original art win out in the end? Or will the major on-line galleries self appointed art selectors continue to advance those artists that fit the preferred ‘style’ of the month and advise their visitors of the artists who are the ‘ones to watch’ (read invest in) – thus employing the ‘stack em high sell em cheap (at first), then up the ‘anti’ later strategy – all with an ‘additional discount to buy’ of course, which the Artist who created the work in the first place has to ‘agree’ to accepting the higher percent they take off the top line. Will High street galleries continue to be flooded by the hopeful newbie or the forsaken mature painters ? To be honest they really don’t stand a chance of being let over the gallery threshold as a exhibited artist.  High Street galleries have more than they can handle on the books already – so they tell me. And then of course we have the the on-line educators come experts (anyone can be an art expert if they say they are, all you need in a minor degree in sociology).  They tell us – “How-to Sell Your Art On-Line” does this unquantified  advise make any difference –  or is that bull shit too? Only Time will tell.  Real artists have to keep painting and have to wait and see with their eyes wide open to all the possibilities – or maybe  and better still – perhaps artists should create their own ‘marketplace and stick two fingers up to the lot of them.

SPIKE is an independent art critic painters TUBES magazine and does not neccessarily represent the opinions of painters TUBES magazine

  ©Spike 2018- 2019

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TUBES NEWS for SEPT 2019

The new TUBES is moving platforms to expanded platform for iPhones, Androids, iPads, Slates, Lap Tops, Desk Tops

TUBES NEWS

The new TUBES is moving platforms to a fantastic virtual reality magazine which employs the latest coding to work on all devices – iPhones, Androids, iPads, Slates, lap tops and of course Desk Tops – The on line mags are subscription for only £3.00 per issue – or £2 per issue is subscribed for 6 (one year) – The printed magazine can be bought £12. including post and packing or just £9 inc post and packing when subscribed for 6 issues (published over one year)

The new TUBES platforms  includes TUBES APP. VR magazines. Artists Gallery. And will be fully available for your enjoyment in September

From September the 1st – You can also register to become a subscriber.  info@painterstubes.com

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