Sunday, 10 July 2011

Fumes of Formation

Click on Post Title for link to this show at QSS Gallery, Belfast, running to July 29th; four recent graduates from Belfast, Cork and Limerick with interests in construction/ deconstruction of materials in painted and 3-dimensional formats. Evelyn O'Connor will be the next interview in Subjects of the Painter at the end of July.

Evelyn O'Connor

Colette Cronin

Christopher James Burns

Gerard Carson

Friday, 8 July 2011

Provisional Painting


Raoul De Keyser: Untitled, 2006, oil on canvas, 351⁄2 by 493⁄8 inches.

'Provisional painting is not about making last paintings, nor is it about the deconstruction of painting. It’s the finished product disguised as a preliminary stage, or a body double standing in for a star/masterpiece whose value would put a stop to artistic risk. To put it another way: provisional painting is major painting masquerading as minor painting.'.

'Restless painters tend to work in several different manners at once or embark on new approaches in serial order.'

I came across this article sometime ago and thought some of you might be interested,

Wednesday, 6 July 2011

Cy Twombly




Cy Twombly/ Untitled/ 2001

In the same week that Mary Beard trashes Robert Hughes' book 'Rome' (the same author of The Shock of the New and sometime writer on Cy Twombly also), the artist has passed away in his adopted city. As well as his paintings, I was always drawn to his sculptures and photographs, perhaps even more so. Click on Post Title for link to a very recent article on the photographs of Twombly.

The Artist's Shoes, Lexington/ 2001

Sunday, 3 July 2011

Mary Delany's Cuttings

Hand coloured and cut paper, circa 1772, perhaps the first actual collage works...The extraordinary story of Mary Delany's 985 botanical collages, which she began aged 72, could be this summer's best read. Canadian poet Molly Peacock interweaves bits of her own life around this extraordinary biography, with really incisive observations on what the medium of collage can achieve. One early comment, that this work raises questions about the difference between accuracy and realism, still has a strong resonance with why collage continues to be employed by many current practitioners. Click on Post Title for a bit more information on the entire collection which is kept in the British Museum.