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exhibition feature

Photograph below: Contemporary Artist, Denis Taylor in front of the installation at Crossley Gallery, Dean Clough, Halifax, UK 

Denis Taylor Artist and Writer. painters Tubes magazine

Denis Taylor with his work at Crossley Gallery, Dean Clough. Left: ‘Acid Trip’ (1985) Middle: ‘Life Began in Water’ (2018) Right: Cellular Abstraction (2014)

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.

The exhibition began in October and ran through to 12th January 2019.
Many of the artists were renown throughout the North of England and beyond for their progressive, dynamic, semi-realist and abstract new work, such as, Denis Taylor, Ian Norris and Jeanette Barnes along with major project painters such as Shaun Smyth and original impasto styled (inspired by Kossoff/Auerbach) portraiture work  created by Richard Fitton and Barry De Moore.

reviews appeared in issue #10 of painters Tubes magazine.

painters Tubes

extract from the review in the magazine….

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 inspiation 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 subjects.

The selected the group of artists was mostly chosen by Shaun Smyth.

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 is primarly based in nature subject matter, although one or two of the artists have expanded that to include the human figure and pure abstraction, work that perhaps have broader and more expansive meaning, as far as the human race is concerned. 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 and fabulous handling of paint, work that is always backed up by dedicated charcoal sketch works.

Spike talks about the art game..painters Tubes mag

The Art Game

painters TUBES favourite art critic and muse, known to all unsundry as Spike, returns to the latest issue with a pragmatic look at the back side of Art – business and selling. What follows is a extract from the full article that you can read free on the latest issue of painters Tubes magazine…

TUBES magazine art critic - SPIKE

Showing paintings on line, is now 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). That “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 few years. 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 in 2009 and is still having an effect now, not to mention adding to the problem with (thinking here about) Donald Trump and the European Union on the brink of collapse helped along by French Riots, and No Deal Brexit.

Today, more than ever, high street galleries need to sell ‘more-stuff’ and earn extra profit to pay those stupidly high ‘business rates’ in the major Cities – And lets be honest, paintings sell much quicker than sculpture or worse those ‘cool’ avant-garde installations of nonsense 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 usually there is a heavy price tag for that sort of contemporary bull-shit art. Consequently the contemporary ‘arty farty’ marketplace is tiny compared to the ‘popular paintings’ art market. Even though there are only so many landscapes that anyone can put in their homes. That market will also run dry soon unless some risk taking by galleries start, pretty damn quick.

The sheer size of the (art) market (because of the www) 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. Even Tubes magazine are having a go (although they already know there is no money to be made so why bother trying – the space it is giving to artists is in keeping with the magazine policy – Art before Money at all cost).

Spike talks about the art game..painters Tubes mag

The one man art galleries start-ups fail quickly- some have a sort of ‘in the third year we will make money fiscal plan’ and obtain a bank loans. Most, in reality, loose much more money than they bargained for and are wrapped up prematurely by their investors (or more commonly the Bank) the ones that backed the idea (with solid security that could be recouped) in the first place.

Today it’s not a case of chasing huge profits for many galleries, on the contrary, it’s survival we are talking about here. Many on-line outfits are simply losing too much money, year in and year out.
“..there is no money in Art..” a very wise man once said back in 1989.

He may have been right but for the wrong reason, as far as I am concerned. Should Art really be treated as a commodity? And be sold as such? – Stack ’em high, sell ’em cheap is not an effective strategy, not for original art, so when times get tough, (in Art) the tough bottle it.

Denis Taylor Artist

Defining the Elemental

Defining the Elemental Exhibition”

Dean Clough. Halifax West Yorkshire

27th October through to 12th December 2019

Preview of the exhibition

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 the painters Tubes magazine contact form.

The exhibition runs from the 27th October 2018 through to the 12th January 2019 

Dean Clough, Crossley Galleries, Halifax HX3 5AX

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