Those are questions asked by the artist in the illustrated poem – PALIA HORA – which is Greek for Old Capital City (or town). Palia Hora of Aegina island once was the home of the entire island. It was in the centre of the island and afforded (and still affords) magnificent views over the entire Saronic Gulf – which was it’s downfall, as the inhabitants turned to piracy – and the Sultan of the Ottoman Empire ordered his General (Barrabus) to destroy the town and kill all its people – as a matter of a lesson to all – The Greek people built the town over a thousand years – and each important family had their own Chapel to worship God (Greek Orthodox) . Barrabus – (who mother was Greek) however left 32 chapels standing in remembrance of his brother (who died at the early age of 32) and out of respect for his mother. Today the Chapels have been restored (respectfully) by the Greek Church and visitors can now see murals in the chapels from the 12th to the 15th century by master Greek painters whose names have faded with time.
below is a fictional story by painters TUBES contributor and art critic ‘Spike’ First published in 2017 Tubes thought it was worth another run out. ‘Spike’ is currently writing his new book – ‘passage to another existence’ to be serialised by painters Tubes new website in the summer – free to read and download (perhaps something to read on the beach?) information and publishing dates to follow….but for now here is…
“…behind the Green Door.”
written by ‘Spike’ © 2017-2019
I strolled through the car park sucking on my empty pipe and coming to terms with an altered perception of my existence. A figure approached me. “Hey mate have you got any skins.” He asked me. I took a step back as I cautiously looked him over. He was a youngish man with a wild haircut and friendly eyes. “No.” I said a little startled by him having spotting me in the shadows. “You see mate, we’re doing our first set of new tunes tonight, it will be an all night rehearsal thing for a gig this weekend. The drummer remembered to bring the weed but forgot to bring the skins, the dick head.” He said with a grin. “Oh I see, what is it you want from me again?” I was still unsure what he was talking about. “You know mate, papers…’skins’ to make a spliff.” I stared open eyed back at him. “It’s just for a smoke mate whilst we are playing.” He said. Still a little confused, as I didn’t know what he was referring to in the first place, I replied. “You can borrow my pipe, if you want.” Then I pushed my arm and hand forward, holding the pipe up with some reverence. “Nice one man.” The young man said. “You can come up to the rehearsal room if you want and have a poke, that’s if you like to try the weed.” I thought about the word ‘Poke’. I presumed he meant a smoke of his ‘wacky baccy’. I agreed to the offer of the poke and followed him through the yard to the old buildings urine smelling elevator, which we had to take as the rehearsal rooms, which was on the third floor of the old cotton mill building. It’s odd, I thought, why these young people never take the stairs?
He looked to the corners of the lift.“Bands today man, what are they like? They piss everywhere, they think they’re all fucking Oasis or something.” The boy showed disgust at his fellow musicians lack of respect and I was more empathic about their bladder control. We arrived on the third floor and was greeted by the mural I had painted many years ago of the Beatles. I looked at the mural casually, but made no comment about it. The paint was slowly fading away, but somehow that gave it more authenticity. “Sort of ironic reminder of Pop music.” Said the young musician and he pointed to the mural. “Why ironic?” I asked him. “You know, it’s fading away, like all pop bands fade away, when their fans fade away. or grow old and die” Then he laughed.
These old rehearsal studios were very old, but loved by the local musicians, because they are cheap to rent space in. The building carried a renown musical history going back several decades. I first came here as a young ambitious artist, wanting to be around the new music that was exploding onto the scene at that time. They called the place ‘Green Door,’ due to the large metal doors of the entrance that were painted green for as long as anyone can remember – I knew why they were that colour of course, because it was the one that painted them, when I first created the wall mural of the Beatles on either side of the doors.
The young man and I walked through the Green Door and there seated on two old leather sofas was the rest of the band. He introduced to each of them in turn. “Ok, this is Monny our Singer and this is Spider our lead genius guitar and this is Woody our mad drummer and I’m Smiffy the quite one on base. And this guys is the provider of the pipe, sorry man but didn’t catch your name?” The he said. I shook each of their hands and introduced myself as Spike, my own nickname back in the day. “And I’m the bands public relations expert.” A young blonde girl came out from one of the side recording rooms, she held out her hand. She resembled an updated version of Marilyn Monroe with heavy red lipstick, matching finger nails and the possessor of an curvy figure. She shook my hand gently, but firmly. “Pleased to meet you, my name is Anthea.” She said, “But the band call me Andy.”
Are you an artist? She asked me. “Of sorts.” I replied. Before Anthea could develop the conversation Smithy had loaded the pipe, fired it up and handed it to me. Blue smoke already filled the air accompanied by the sweet aroma of marijuana. I decided to be polite and not refuse to partake and sucked on the pipe before blowing out a cloud of smoke. It caught my throat and I coughed. “Good Mary Jane.” I said. The band looked at me confused. “You know, – MJ.” I said. They laughed at the dated references to the drug, as each of them took turns to suck and blow in between refilling the pipe with the weed. “Did you say you’re an Artist?” The singer said. “I was a painter, many moons ago.” I answered. “You didn’t you do that old mural at the entrance did you?” The lead guitarist asked. “Guilty as charged”. I said smiling. “And I was actually paid for doing it.” I replied. “That’s sick man” ‘Woody’ said and after a silent pause in the group conversation.
“I thought it was Ok when I did it, but it may look sick now I guess.” I replied. Smiffy explained that ‘sick’ was good and not ‘sick’ as in meaning bad. “Nice one, I always wondered who painted it, now I’ve met him.” Said Spider laughing.
“My company is called Sync-In” The blonde bombshell interjected. “That’s with a ‘Y’ and a ‘C’. She clarified her companies name by handing me her business card. I looked at it impassively. ‘Sync-In’…keeping you in touch with todays sounds. The card said. “That’s Cool” I replied to her card, trying to appear as ‘cool’ as any old man could be, given the present company who’s average age I guessed to be no more than twenty one years old. “Are you a well known artist?” She asked. I stuttered a little before answering her. “Yes, but only to myself.” I said and the band laughed. The pipe finally arrived at me again and I took one huge drag and then passed it on to the blonde bombshell. “Oh, thanks, don’t mind if I do.” She said politely. “Hey mate” Smiffy shouted. “Wanna hear a tune or two in a bit?” “Sure.” I answered enthusiastically. After all I had nowhere else to go, also the blonde bombshell intrigued me. We walked into one of the smaller rehearsal rooms and the band began to warm up their respective instruments.
Andy Sandy sat next to me. “They are really good” She said. “I’m organising a video for the BBC New Sounds show. “We decided to record a live gig.” She purred. After numerous twangs of electric wire strings and drum rolls, the band launched themselves into their first new song. ‘Smiffy’ created a base line that led the lead guitarist into a hook line whilst ‘Woody’ became one with his set and clicked his sticks together to ascertain the beat, his bobby hat being the only thing in view behind the large drum set. The band spun-off from each other as the rhythm and lyrics began to slowly gel together into a melodic beginning.
It went well until Andy decided she wanted the band to rehearse how they would appear on stage, (for the video). She began positioning them, explaining from which best direction they would be videoed. The band went along with her for a while. Then Woody got up from his drums and went back to the sofa, quickly followed by Smiffy leaving only the lead guitarist and Monny.
I excused myself and joined Smiffy on the sofa. He sat smoking my pipe and looking glum. “She does my head man.” I looked at him with sympathy. “I mean, don’t get me wrong, she’s good at what she does, but I don’t see why she has to be at rehearsals every fucking week. I mean she maybe shagging Monny, but for fucks sake…we gotta get some real rehearsing time in..seriously man…we a’int anywhere near tight enough yet for this BBC gig.”
He took a suck on my pipe and then handed it to me. “You know she is probably wasting her time anyway.” I said to Smiffy. “What d’you mean?” He sensed I was on his side. “Well, of all the best bands I’ve ever seen in here, and thats like hundreds and hundreds in my time.” I stopped for a puff on my pipe. “How old are you man.” Smiffy said. “As old as pop music my boy”. I said with a wry smile. “Now as I was saying, of them all, the very best didn’t so much play music as feel it.” “Well yea, we all do feel the sounds man, what’s that gotta do with Andy and her fucking about with our rehearsing time?” “Perhaps you should mention to Monny that if the video is to be of any substance, musically speaking, then Andy should video you exactly how you feel when you are performing the tunes. No rehearsals are needed for that. You should be creating the togetherness at rehearsals and only performing the sounds at the gig. If anyone has to be in rehearsals at all, they should be like me, invisible. That way it will be a great video and not a cheesy one, like so many of these video artists seem to be these days.”
“If he’ll listen, I think he goes deaf when he sees her big knockers, he can’t concentrate on the words of the tune.” He was right, as in so many cases, personal or physical relationships and creating music cannot be mixed and if they are, generally it’s for the worse, at least that’s according to my observations of the years. #” The mad thing is Andy’s got a brilliant voice – I want her to be in the band – and be a sort of co-singer – that would have solved everything- but I was out-voted.
I persuaded, with a promise of support for many of Smithy’s viewpoints, and persuaded him and Woody to go back into the rehearsal room and try again to play at least one song from top to bottom without Monny’s girlfriend’s involvement.
Andy was still positioning Spider and Monny for camera angles as we walked in. When the band set up again she sat down next to me. “So, Andy, tell me, are you planning to be on stage with the boys at the gig?” She looked at me as if I had insulted her. “Of course not, this is about the Band and not me.” I sucked on the pipe, which was, by now empty. “Oh, I see, I thought you would be.” I said. “Why? She asked turning towards me. “It would be natural for you to do it wouldn’t it? or have you employed a camera person for the job? “Not exactly, the BBC said they would have to use their own camera people.” “I see, so you have no real input with them do you” “None at all.” She said. “Yet I hear you have a good voice? – Couldn’t you persuade Monny to be a back up for him.” I asked. ” Well you know what bands are like…they are very funny about letting in new members.” She with a frown on her forehead. “I see so now, you are trying to get the band to put themselves in a position on stage as if you would be filming them, so you are involved, is that it?” “Well, I hadn’t thought of it like that but I suppose so.” I looked at the pipe and looked at Andy. “Could you do me a favour.” I asked. “Depends on what it is.” She said with a cheeky smile on her face. “Can you find something to put into this.” I held up the pipe. “I believe you will some ‘weed’ in Woody’s jacket on the sofa. Andy obliged and being a bright girl, I think she was thinking about our conversation, and seriously thinking about making music for herself.
The band began their first tune of the night. And repeated the introduction as they had before. This time Monny was concentrated.
“Rain, rain, rain, rain, rain, rain” ‘Monny’ sang and faded out the last of words as ‘Spider’ caressed his electric tool and produced an addictive repetition of notes. Smiffy played a pulsating captivating hook base line throughout. Monny looked up from the staring at the floor and began to sing with emotional power. “A million thoughts are spinning round my head, a sinking feeling like I’m in a dream.” He continued. “Remembering all the things I could have said…to you.” He turned to face the drummer and turned back grabbing the microphone in one movement while simultaneously upping the volume of his voice. “When you’re gone there’ll be no second chance, you made your bed now lie in it.” The rest of the bands volume increased three fold and Monny roared. “Rain on me and wash away my tears, shine on me and brighten up my years.” Spider played a haunting solo on lead as Woody rammed the drums with powerful expression. The instruments then fell silent except for the faint base rhythm played by Smiffy. Monny looked down at the floor and shook his head from side to side as if he was crying. He looked up at the ceiling and quietly sang with a sad delivery. “We all come to a bridge of life.” Monny then looked to his side and then looked directly at me. “Has it ever occurred no-one crosses it?” The guitar kicked in much louder and the drummer became a blur of flashing sticks. “Rain on me” ‘Monny’ cried out and then repeated the same lyric as he expanded the line. “I’m taking one day at a time, one day at a time” He followed it swiftly with an emotional tone. “Rain on me and wash away my tears”. He pleaded “Shine on me and brighten up my years.” He asked with passion. He repeated the line “Brighten up my years.” Building up to a crescendo. As the band slowly played in unison to the fore with an immense addictive sound. It was, I thought, the best song I had ever heard for many a year behind the Green Door.
I found myself standing up accompanied by Andy, who had come back into the room smoking and hot. At the end of the song I collapsed exhausted into the chair. “I have to leave.” I said. “Wanna a poke before you go?” ‘Monny’ asked me. I looked at the pipe and looked at Andy. “No thanks Monny, but you can keep the pipe, because that was what I call a great tune.”
I walked to the Green Doors, as I opened them I turned my head to the band. “What do you call yourselves?” ‘Monny’ rose to his feet and proudly said “Teaser.” “That’s with a very big ‘Z’ in the middle” Andy added. “ I looked at Andy – “Let the band do the video exactly as they have, it will be a smash hit. I said and walked out of the room making my way towards the urine perfumed elevator, but detoured towards stairs, preferring the smell of mould and dirt to that of urine.
“Rain on me and wash away my tears, Shine on me and brighten up my years.” A tear fell as I sang the tune as I slowly walked down the stairs and through the yard and back into my non-existence, that is until the next time I cross the bridge of space and time to once again go behind the Green Door.
This story is dedicated to the memory of John Monaghan and the band Teaser, Manchester UK.
All lyrics in quotes are the copyright of Teaser©1996-1998
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.
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.
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?
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 ?
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.
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
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…
…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).
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 to me (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….. to read the full article please click here
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.
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
You can also read a review of the exhibition in issue #10 of painters Tubes magazine Please click here to go to the magazine
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
for more information and update on the gallery go to: https://tubesartistsgallery.blogspot.com/p/painters-tubes-magazine.html
[contact-form to=”email@example.com” subject=”painters Tubes magazine – Artists Gallery – Future shows”][contact-field label=”Name” type=”name” required=”1″ /][contact-field label=”Email” type=”email” required=”1″ /][contact-field label=”Website” type=”url” /][/contact-form]
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
“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: firstname.lastname@example.org
The exhibition runs from the 27th October 2018 through to the 12th January 2019
Dean Clough, Crossley Galleries, Halifax HX3 5AX