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
talking about the art game

…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
selling art

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

Pauline Rignall….featured artist in painters TUBES magazine, issue #8

painters Tubes Editor interviews Pauline Rignall at her studio for issue#8
Pauline Rignall discussing her work with Denis Taylor Editor of Tubes magazine

Pauline is a painter who is exploring ‘human sensuality’ through the inspiration of myths and legends in her recent work.  She translates these often suppressed, or  hidden sexual feelings, into vibrant dynamic contemporary art. She is also a gifted landscape artist. Tubes editor, Denis Taylor, visited her recently in her home studio to discover more about her and her art…Pauline is featured in the upcoming issue (#8) of Tubes…not to be missed.
 

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Can artists write about other artists much better than non-artists?

Tubes magazine. Can artists write about other artists better than non-artists?
Giorgio Vasari was an Italian painter, architect, writer, and historian, most famous today for his Lives of the Most Excellent Painters, Sculptors, and Architects, considered the ideological foundation of art-historical writing.

As the Editor of painters Tubes magazine and a full time artists for 30 years, I have found that writing about other artists (in my case painters) gives me a sort of insider knowledge of how artists process their work, from both intellectual and physical angles. When interviewing other artists this special understanding forms the basis of our conversation(s) and helps me to get to the ‘pip-of- the-poodle’, as they say in Sweden. Little time is wasted on talking about the contingencies of painting- say, the choice of paint, the type of base preferred (board, canvas etc). Nor do I waste interview-time making a list of their education background, academic or art competition gongs, or any other ‘list’ that are usually intended to impress prospective buyers or potential representation of galleries.
I find that four to five hours is required to fully examine and get to the bottom line of the artists real reasons for living life an artist. What it is that drives them and provides the impetus to continue with ‘needing’ to create something original and authentic – This is often more complex than most people realise. Total confusion on the ‘why’ to create at all, is always that empty space that manifests itself as the struggle felt, as is the overpowering ‘need’ to gain not only recognition of ones peers, but also from total strangers, art agents or art galleries who may wish to actually purchase or value the work. Separation of the conscious ego from the subconscious creative mind remains an issue, as it has always been.
My conversations with artists helps me to confront some ‘hidden-agendas’ head on. ‘How to survive as a full time time painter’, for example, is often talked about, or rather, how difficult that is to maintain in the 21st Century. “Too many artists, not enough space to exhibit”, frequently comes up in ‘chats’ as an irritation, as does the gallery bias for one type of art over another or the ‘lottery’ of being singled out on the www for acclaim. Social Media addiction is always a problem for artists, especially for those that post every single brush stroke they make for the world to admire, i.e. “here’s one I started this morning..” type of post- (unfinished ‘updates’ of art is one habit that I personally abhor). 
Some writers of art prefer to ramble on the aesthetics of this or that work of art, using words that simpler descriptions would suffice quite adequately. And whereas that ‘academic way’ is probably a very 20th century way of writing about Art, it is still utilised today to avoid discussing the real practical issues facing painters. Or indeed what their Art is really ‘all about.’
The other difference, I have found, as an artist interviewing another artist is, I am truly interested in how a work or series of work came about, not in any ‘journalistic’ way, but as a fellow artist who experienced similar ‘awakenings’ or insights. It is also not that difficult for an artist who interviews another artist to quickly spot an ‘image-maker’ from an artist who ‘works’ to develop their Art rather than simply live off it.
For me, as the Editor of an Art Magazine, one that is devoted to ‘paintings and painters’ it seems clear that I should be looking to encourage other Artists to start to write about other Artists. If I am lucky enough to achieve that aim – I honestly think Art in general will be the better for it…
Denis Taylor Artist
Denis Taylor Artist and Editor of painters Tubes magazine