“Defining the Elemental”

Defining the Elemental”

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 painters Tubes magazine at: tubes@telia.com

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

Dean Clough, Crossley Galleries, Halifax HX3 5AX

Read the Catalogue Free on Line… click here

 

Denis Taylor Artist shows Cellular abstraction.
artists mount new show at Dean Clough Crossley Gallery

“artists of the revolution”

from 1900 to today how the industrial revolution produced the art of North West England and beyond.

painters Tubes magazine.
summer special edition

SUMMER SPECIAL EDITION – PUBLISHING 30th JULY 2018 free to read on line-

Printed edition available email- “reserve my exclusive copy” to tubes@telia.com

painters TUBES magazine….goes international this fall..

From this September painters TUBES magazine  is featuring the very best  international artists…. Artists (painters) submissions for inclusion during 2018 and 2019 issue are welcomed…please submit 3 jpeg images of your current work…SUBMIT

TUBES international art magazine

YEAR REVIEW ISSUE #6

The best artists interviews, articles, essays and more. Read on line for £1.50 (UK) $1.99 USA) – Click here- newstand on Joomag

Denis Taylor and Dave Coulter
Denis Taylor Artists and Editor of Tubes and Dave Coulter
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Denis Taylor Artist
Denis Taylor artist and editor
painters Tubes magazine
Special Exhibition.
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Best articles of 2017
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Artists interviews – 4 of the best of 2017

Best Features of 2017 – Abstract and Landscape – full essay + artists work

The best artists interviews, articles, essays and more. Read on line for £1.50 (UK) $1.99 USA) – Click here- newstand on Joomag

“play it again Sam…”

evolution banner3Talent orientated paintings, were at best frowned upon or at worst, said to be created by ‘hacks’. That was according to some of the contemporary art worlds shakers and movers of less than a decade ago. The trend today shows the opposite standpoint. Extraordinary photo realistic images receive by far the largest number of Google+, Facebook Likes and Twitter retweets, more so than any other form of Art posts (i.e. abstract paintings, photographic & painted montages etc). There again what do the general public know about art? Besides what they like – Nothing! Or so some of the art academics would have us believed many moons ago. To be honest, I tend to agree with a comment made by Jonathan Jones on one of his blogs (Guardian.co.uk) a few years ago, when he said: “I don’t see the point of producing photo-realistic paintings today, why not just take a digital photo [and manipulate it] in Photoshop. That would do the same job”. You may have been right Mr Jones, a painting does need to have much more than just a demonstration of talent or technical knowledge of the person who did it. does it. I mean you can’t help be to be impressed by the skill shown, but rather less inspired by it as a work of art.
My other real concern with all this ‘photo-referencing’ type of work, as with much highly technical and exacting figurative representational realist painting, is the seemingly lack of emotional or even spiritual content to the finished work. It’s as if the process of photographic -reference removes the creative spontaneity and or, the human connection to transmit that ‘other-worldly’ feeling through the hand and brush to the canvas. Perhaps because the photographic reference sort of gets in between the artist and the flat surface?
©Kate Rothkp Prizel and Christopher Rothko:DACS 2017above : Rothko Painting: ©Kate Rothko Prize and Christopher Rothko/DACS
Mark Rothko once said that he simply could not employ figurative work into his painting. His paintings Rothko at the Tate Gallery London are more of an introspective enlightening experience for the viewer, despite the canvas being no more than layers of flat colour painted over and over in limited colours. For the emotionally sensitive individual, a Rothko can make you cry real tears. For many others they are simply boring blocks of colour.That was perhaps the weakness with that period of Art (flat colour plain painters) it just wasn’t a universally understood visual language and thus it became an intellectual’s property of appreciation and not a style or way of an expression that could stand along side in equal stature to say that of a William Mallord Turner canvas, or a Monet, or a Van Gogh, when you take a look at the general publics attentendance records for museum exhibitions.

What good are paintings, you can’t eat them…

Despite that foreknowledge, as a painter I mean, many, many years ago, when I was a relative boy, as far as being an artists is concerned, I decided that it was pointless to paint in the same way over and over using photographic reality or references, or like an impressionist or any other movement that had gone before me, despite art professionals advise to the contrary.  Yet, I didn’t want be ‘labelled’ as an abstract painter, or indeed as a landscape painter, or a realist painter or anything else. I wanted to sort of apply myself as a newbie every time. I wanted to become a painter of perhaps multi-styled-pictures (and suffer the consequences of total obscurity and limited success, if thats what it meant, which it did).

My artistic ethical mind told me that I didn’t need rounds of applause for my work either, even though my brain and my ego told me otherwise. Today, when I surf the web, I view the many thousands of ‘communities’ of Artists following the same road that many Art specialists advise artists on what road to take [to success]. It is a road that I personally rejected, all those years ago. I guess the emphatic consistent style dogma, one that was set down decades ago by the high street Galleries, have now become entrenched into the minds and souls of visual Artists. And as I view increasing quantities of individuals who make a work of art in a specific style and repeat that style over and over, I ask myself, “what’s the point?” – How can repetition of subject help a painter become all that he could be? How does sticking to the same style help with art development? Why is taking a risk avoided by many painters, yet not so much by other contemporary art forms? Should painters actually avoid the style trap, one that is a major hazard on the imaginary contemporary motorway, a highway that should be leading towards points of discovery, rather than a stylised multi canvas pile up.

…Is it not time for painters to evolve their art and try to be an explore painting as an Art form? And not simply be a metaphorical painting tourist following that tired and worn path of one artist who just happened to stumble upon one good place to sit in the sun?

So, whats the current [trend] state of original visual art? – The last three or four years has seen the rise of ‘Zombie Formalism’ – An impolite tag perhaps, said to be first used by an American art lecturer, to describe painters who are resurrecting the theories of Art critics from the 1940’s…….oh hum… here we go again… “play it again Sam”Denis Taylor. Editors blog, painters Tubes.com March 28th 2017. (also published on Blogger)

Historic Essay. “Affirmative Art….”

essayaffirm72Painters Tubes  Magazine are proud to be the first Art Magazine to publish this amazing art essay written by the late Professor of Art at Lancaster University & renown Author of several Art books; Nigel Whiteley Phd. F.R.S.A (1953 -2010).

Published in two parts the essay comments in depth on the ‘state of Contemporary Art’ at the latter half of the 20th Century and at the beginning of the new millennium. The essay conveys an essential and important piece of critical thinking which is as relevent today, as it was when it was first published within the Heart 2 Art Exhibition (catalogue) that was mounted in 2002 as part of the ‘After 5 Years Later Project’ 1998 to 2002 (pp: The Swedish Government Estonian Trust Fund & the D.I.S (Sweden) International Support Group).

….a must read for Artists, Art historians, Academics and Art Galleries alike.

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“Affirmative Art in a disaffirmative climate” essay©Nigelwhiteley/DenisTaylor/W.O.R.K 2001 ISBN:91-631-2047-X

Exhibition and Book Review

One of the Directors of the Gateway Art Gallery in Hale (Cheshire, UK)

Gateway Gallery (Hale, Cheshire) owner launches an art book with an exhibition.

bookexhibition

One of the Directors of the Gateway Art Gallery in Hale (Cheshire, UK) has written and self published the paperback book: the northern School. (a reappraisal). The exhibition, which marked 12 months in business for the gallery, was also the platform used to launch the (paperback) book which was said to have taken 5 years in the writing. Painters Tubes gives a comprehensive and critical review of both the exhibition and the book in the first issue –

To read the full review:  register here for a free (on line) version of the magazine- please click here.

Please note: for security reasons a ‘Full Name’ that can be verified, is required together with you contact email if you are representing a Private Company or an Art Institution to receive  the link of the On-Line Post Public Release Magazine. Thank You.