issue number 11 is now on line to read free – this issue has two fantastic articles – Colin Taylor Part two of his wonderful 3-part essay on contemporary landscape and how to translate that popular genre into a vital and important work of art…part two discusses “what is seeing.” – The second article is about why the Transavantgarde, movement that started in 1979, is still a relevant way to think about Art today and the choices a painter makes during the creative process. SPIKE & Friends – our old critically minded journalists, returns from their travels and talks to TUBES about space for painting exhibitions, or rather, the lack of it. And of course not forgetting about the brilliant 11 artists taking part in the first new Tubes Artists Gallery – A space thats just for painters.
In issue #8 of painters Tubes, we featured an artist who had submitted a number of works for consideration to be featured in the magazine. Most of the work were landscape paintings, and although they were excellent, they was not what TUBES were looking for, at the time. Landscape painting had been extensively covered in tubes issue #5. (click to read free on line)
The artist explained that the landscape work created were essential to help fund ongoing research with preparatory painting for a series of very large paintings, ones that took figurative painting into another direction and subject line that normal figure work, but it would be some time before they were fully resolved.
This special series of paintings, (the artist explained), was connected with a specific investigation into human relationships through the eyes of another age. And how the myths related to our own time. Tubes Editor was quite taken by the paint application and the subject and arranged a personal visit to the artists studio. It was here that he viewed the full range of work and as a consequence featured the artist in issue #8.
Some time later, the artist, was financing the large series of work by trying hard to sell selling landscape painting, but one day was surprised by a visitor to the studio. The visitor explained that they were so impressed by the work (seen in painters Tubes magazine) that they wanted to provide funds for the artist, to assist in the creation and finishing off the series. The artist contacted Tubes and told the Editor of the news which “..was in most part, due to the article in painters Tubes magazine…”
For all of us at Tubes, that one story, makes the case for painters Tubes magazine as the most influential Art Magazine real and fills us with delight…. So to the artist in question, congratulations and hoping you paint many more great works of art…all the best from all of us at painters Tubes magazine.
contact the Editor at: email@example.com if you have an interesting series of paintings you would like to discuss or a studio visit (live, or on line or via Skype or apple Face-Time)
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 ( for directions and information- please click here) The exhibition is currently on and is running through to 12th January 2019.
Many of the artists as renown throughout the North of England and beyond for their progressive, dynamic, semi-realist and abstract new work, such as, Denis Taylor, Ian Norris(see TUBES issue #1) and Jeanette Barnes along with major project painters such as Shaun Smyth (Mersey Gateway Bridge project- see TUBES issue #8) and original impasto styled (inspired by Kossoff/Auerbach) portraiture work created by Richard Fitton (see TUBES issue #7)
The full Catalogue with examples of all the ten artists work, comments on their work and poetry that accompanies the paintings (written for the exhibition by David Traves) features in the exhibition is available here: Defining the Elemental catalogue
The first Tubes Artists Gallery will be published with the release of issue #11 in December. Exhibiting will be Ten Artists from the UK, USA, and mainland Europe.Each artist will have a full page feature and three examples of their work offered to over 70,000 on line Tubes readers. To feature in future shows in the Tubes artists Gallery please submit three examples of your original paintings to firstname.lastname@example.org or fill in the form below where we can visit your website.
ARTISTS – SUBMIT YOUR WORK BY POINTING TUBES MAGAZINE TO YOUR WEBSITE PLEASE COMPLETE THE FORM BELOW
A while ago I strayed across an interesting old video on You Tube that got me thinking about the relationship between Artistic freedom and Modern Religious Art. This particular discussion, come lecture, 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.
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 he went on to say)…”that all references to faith and religion is edited out at source”. (And also that…)…”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.
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, I find sort of shallow, or egoistically based, or trendy or with sought after intellectual inveigle high street gallery intention. I simply pass quickly by, metaphorically speaking, without so much as a cursory thought. So for me to be anguished by an Art as the above, would only go to validate it as important to a sort of global cultural or spiritual advancement, which I personally, believe it is not, perhaps it’s has the absolutely reverse effect.
Most artists, (those I know personally), when looking at a work of art and those that could be deemed as ‘Religious’ minded, tend to ignore the intended propaganda or dogma that is implied in the painting, but rather they are far more concerned about the pure magic of the work in front of them.
For example some the work of Pontormo or El Greco, to mention only two (religious sponsored) painters of the distant past, whose work I personally very much admire and gain a feeling of wonder and inspiration from.
After a while I began to feel that the lecture, come debate, was slightly myopic….
The full article will be published in issue #11 of painters Tubes magazine, December 2018
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 painters Tubes magazine at: email@example.com
The exhibition runs from the 27th October 2018 through to the 12th January 2019