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CoverArt ltilichael Porter Page
1 Contents
Editars page E Sponsors
Page
2
Catherine Bates
Chairs Report
From Paint Handiing to Process
Peges 3-6 Fealure
May I first apologies for the very late edition of artspace. One our major sponsors went into liquidation and at the time of print we are still looking for a sponsor to keep artspace going. Normal service will be reumed as soon as
3
Pete !v4cCarthy
Page
7
Book Review
Public Sculpture Dav|i Phil!ips
Page
8
Book Review
Peggy Guggenheim Dave Fhiiiins
Page
9
Review
Kevin Parrish I Mick Rafferty Martin Beresford / Simon Schaffer Richard Sadler
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possible. I did not want this issue to go out without saying how much LSA and artspace are going to miss Dominica Vaughan. For those who are not aware of the contribution over the last six years that Dom has been with us. I am going to review her contributions.
Dave F,hiiiips
Page
10
Dominica Vaughan
Review
Nicti Smar/
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Joy Hayward / Sonya Stuart Avril Moore
Dom was a founder member and in fact the first meeting of LSA was at her home in Plymouth Place. lt was then known as LOTSA ( Leamington Old Town Studio Arlists ). I myself was not a member and I want to thank Dom for introducing me to 'vvhat is now Leamington Spa Studio Arlists. Like most artists at the time I was not really sure what LSA \/ere about. But I think over the years it has proven its worth. Dom has been a staunch supporter and recruiter ior LSA and has been invoived in virtuall5r every enterprise it has undertaken. She
Dave Phii!ips
M
Page
11
Review
lan Bamford Picasso !"lick Slnail
Page
12
Review
Pat Shenstone Francis Bacon Fete ll4cCaihy
Page
13
Review
Suanna Heron / Sian Bowen HSBC Bank Show Oavid Troughton Pete !,4ccanhy
Page14
Review
has sat out in the cold and rain at indifferent an events in town raising awareness of LSA, exhibited her work in many group and one woman shows proudly associating herself with the organisation.
Lesely Daniels Dave Phiilitrts John Myers Permanant Collection
As Membership Secretary she kept meticulous records, originally by hand in a big black book and then when computer technology hit LSA she has kept up her dilegence in creating new databases. I have lost count how many times Dom has hand written addresses on brown envelopes to distribute the earlier additions of arlspace and she has always been a fantastic supporter io me in getting artspace out reiatively
Pete ilcCarthy
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Page
15
LSA
Page
16
Review
Membership
Application Form Terry Atkinson
Dave Fhiilips Mark Tiliy Pete lv'lcCarthy
on time.
Page
17
Review
5 Women Artisls Davt Pl.tiliips
Page
18
Review
Stuart Eilis Tantulus Project Dave Phil!ips
Page
20
Review
Emma Henry / Paul Lockwood British Pop Art
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I want to thank Dom for all her efforts and her total committment to LSA and her own work as an artist and I know all those who know her will wish her the very best for the future. We shail all miss you and no one more than me, thank you once again Dommy.
Dave Phil!tps
'artspace'gratefully acknowledges the support of its Sponsors The White Room at HM Graphics is Leanlinqton Soas nervest modern I contemgo'
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Speciaiist :nteractive vicieo , cn!ine
ccntent and Civ'lS for educairon, the arts and media industries CanicDt: Biil Jackscn & I'i:ck l,4icidietcn 0776601 3834
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Warwickshire College School of Art ancl Design A ieadrng grovriler cl visLral aits itnd rneciia courses both Iuil and part tirne illi enquiries lo Dave Hirons ci Ancirea Freeman, Schocl cl Art and Design Tel: 01926 318C00 War*ick NeuJ Road Learninqton Soa CV32 5;E T\ry Printing'artspace is piinied by usinlj lne laiest ciEita! copi,ing iechiclo,;y both in colour and black and ,,rhite - direct fro!'n disi( Ca!l TW Printrng for ail 'r'c,Jr ciigital Frinting needs. Tel:01926 883757 Fax C1326 450083 Unit 4b St N4ary's Iload Leamingtc,n Spa CV31 1PP
Bill Jackson - Editor Ja.kscn - icurnal Edilcr Feie L4cCarthy - Faatures E,litcr ( 017888155a5) David Phrllips - Revrervs Editor { 0'1926 ?12212') Steve F-hrllips - Picture Editci ( 01326 774903) Brll
Yor.r can aluiays ernail nraterial io: anspaceiZ;dircorr co u k aals!lace
ailajLlece :ssus#18 .June 20ti3 Eciitor' - Bili ,Jackson
Prinled hy T'A/ Printing Spor:soreC by cobaltuk lt4, Vliarvrickshire Coilege. Stcneleign , LSAand TW Printing Cr:nir-ibutcrs - Dayi,J Philiirs, Pete i\4ccartt!y. Nick Srnail LSA Ccmi'nittee
Chair - Cgtherine Baies Vlce Caalr - Tirn Richards I\4ernbel'Ship - Grace Ne,,vrnan Secrelary - Liz Wright Finance Secretary - David Phillips
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Leamington Studio Artists Chairmans Report
Letter frCInr the #hair
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It is a great pleasure to find myself back as Chair of LSA, having been re-elected to the post ai Februery's AGM. Tiris is ihe plece tc thank our lest Chair. Brlan Lamcni, for the great ln;ork lie dici during his ierm of of'fice, and ior all ther ene:"gy anC nevv ideas he brctigl'it to ihe crganisaltcn. wciJld aisc like to v;eicorie tliree new nternbers tc the Conrmittee: Mick Raffert-1,. our new fxhibitions Officer. Dave Lev'ris. rnrhc has takeri o,;er as Studic f'lanager. an$ Grace ltJeu"'rnan. who has taken cn ihe iolr of llernbership Secretar;r, ttgeiher with responsibility fcr distributing Artspace - it is tliatrks ic lier that you are reaciing ihisl ln addilion, fris Bert: has kindly agreei tc represerrt LSA cn ihe Warwickshire Arts and Heritage Weeh 2Cii4 I
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conlribution to LSa fron-: i:ur reLiring l\.iernbei"sltip Seci"etary, Dcrrrinica Var-rghan. As a iounder il.iefibflr Donr lias supported ivithcLtt reser,'ation LSA fcr six years ancl has established ihe roel cf Flenibi;rship Secretary. The con":n"rittee wish tc ihank Don: for ali her hard u;ork end wish her ail ihe best in ihe future
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more
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and more
llke to register an inierest or u;ho v;c'uici simpll", like iriore infcrn:atirn cn the ne'uv studlos shoulci ccntact Dave Lewis
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th* eigi-:ieenth issue cf Art*pac* and the tliird tc be irr cciour. Thanks. as al\rya',rs, io Bili Jachson, for proriucing This is
what is n*i,v cstablishr,ji as the area s i)rr:irnior rr:,v;ew jcurrial in ilie i,isual arts. L$As *thor publio iace - tire v.;ebsiie -- c*ntinues tc, l'ecruii ne"v ireln}*rs i+ LSA ir*m ihe UK ancl arounc ihe uiorld. lvlar:;; l-:'re:,'tb*ts ha,.re taken the r:pp*nunity io publish ilreir c'*n person*l web-pages lirrked tc thr* site and ir: profit fr*m all ihe wcrl,j 'vvide ',r.'ob has tc ofior. The r.v*bsiie is being updatei o',,er ihe ire vi iew weeks. artl pianning aheatj for future groliD exh;bitioirs Tn€, LSA Opcir - now establish*d as an ilnnLral event .-'will ti:ke plat-:e u:gaiir in the i:uiumn. We are v.rcrking with ihe County Afis Servir:e on the ,a.fis and Heritage Weeh piannecl for 2C04. tur'Je aisc cr:niinue cur links lvith thr: Lofi Tl-:eatre, 'vthere fir{-:rmbers are in,",itecl tc subn.:it r,vork to shc'ry in ihe fover urncl bar ar+a cf Leai':-:ingtorr's lei:liing cji-ai'i':a vrijnH*. Cn iih L/ery, ,.rue arjvr+fiised L$A at tire Canal C,?riti."'al organis*ti i-.ry P.rigenesis irr Olcl Tov;n.
The conimitte wish tc thanl< Steve Phillips for his liard sweat encj labour in or.qanising anci putting up numerus men:bers exhibiiions. There is riot an exhibiting niember u;hr has nct had the 'hand' of Sleve in putiing up their ir.rcrk. Thenk ycu to all of them. es well, cf ccurse. as tc the ciher long-serving mentbers cf the Committee: .,rvithout thenr nothing vuor"rld heppen.
Caiherine Bates
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Ferhaps
:he niost importarrt nerrs is thai LSA is curren",ly in Ciscussion with Waruvitk District Council abou" alierneiive studio space tc replace Nofih Hall it,hile ihe studios ihere iand, indeed. Spencer Yard as a whole) undergo lonE-awaiteu deveiopn:eni. Through Regenesis, the Ccuncil has ol'fered us a part cl The Sancl Factcry in Althcrp Street {in Leaming:on Cld Tcwn) .as a possible v*nue for new studias. \ /e ar*o cr;rrentiy negc"iating "iviih the Ccirrrcil abcut rnaking the spece suiiable {cr artist use. putting in sirrks, venl!lation. an* so forth. lot depenCs on ihe otitccn'te L'ri inese ciscrtssions. but th* Ccrnmlitee fee! thai ihe buildins certainly lras i.lre poiential tc oifer studio acccrnmoilation ii':at !s '.J,/arrn, dry, arrti safe. anC tn which v';e t;ould hope ic i:e abie ti: seci:re a long lease. Since vve hc:re L:een o{fered tlie Band Fectorly on tl'ie undersie nding that the ex[sling users of North l"{all need ta be reiccated" it is oniy equitabie that lhey be given iirsl refusal. On ihe other hanC, since ihe new siiaces. if end when they r:iaterialise, are likely to be very different fron'i those in North Hall
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! 1ith its meniliershi;r in exces* of 270 an+ still gro'uving" L$A is norv tlie argest visural arts *iganisi:itit--'n in ihe f/*st h,lidland* Our nreml:ers &re practising *fiists oi ail n:edia, as well as *uppcfiers of the visual arls. lf vl-,u kirow of anyone whc might [:e interestecl in j*ining, ifill iheir ir--, visit ihe '..iiebsite *il \r-v:\v\i't.i$a q!:ti.*l-.,tq,Sk rir tt-.r rin,; tho fict'nlrership Secretary t-.ri.: 0'l!26 77Ag2e.
l'iappening since ihe iest Chatr's
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pete Mccarthy continues his feature
paft thfgg' the dominance
of an approach
ln tlie last issue vye sa'uv how the gestural natrire of rle{r-exprsssionist peintlng had alioyred a knowing-
ness to creep in that errentr;aifV ied to its decliire. Dangers lurk for any style thal requires or prornotes spcnianeily. For a spilnianeous geslure io be vatid il *eeds io ccrrie as rriuch fror:.' ilie heart as the head. Snl-v tl'ren ,:air it be fresh, direci ai-rd ern.rtione,'v auihentic. As a plaifcrnr frcnr wlrich t* build a c&reer it's toc narrliv, tco *phenieral and toc r:irsiable. Il's an i:pproanh tirat dcesn't encourage *r ben*fit {rom r--c ci c+ cu a:iion. ntensit,/ s evrlrythl n g. I
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From Paint-Handling to Process
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Irr such a siiuaiicn tfre tried and lesieci sr.;biects lare besf ilreir wetf-established {ran':err,'orks olfer refuge frcm the uncedainiii-ls of thr* expres*ivo gesti;re. Lucien Freuc's declication to the rigours cf tf':e life-i'ocm fits ihe bill nicely Tl':e tousle*h*irr:d scri";ifiness of vintage Frsud st&nrls in starl{ contrasi tc tire sleek efliciency of i;in',age P.ichier. Richter is at-rle to tide the ups and dciryns of painterliness vriih style and aplomb Fr':ucl prefers. according to Lawrenc-Go'"'vinil, lo press on i,^;ith his seli-appoinierj lask r:f cloinE lhe san:e painling over and o,ier aqlain. li makes for a tess naat phrase but !t n':ighi be better t* restat* this as th* san':* prcject cver and o,rer acain. The variaiions are iir the subject and the compcsiticn raiher than the handling r.vhich c*rries over fr+m *ne piece to ihe n*xi TheEe iracliticnal proJects are nr:t iependeni on a particular we,r' of hancll!ng painl. The same s*i:ject marter lras senyed movefienis and ccunter-ntoverrients throughcut the iCth century rn;lthout this dir:tating st\,.!e. Freuc ther*fcre u;orks ttre r.;ay he coes cut of preferericq; an.l ccnvic',icn Ri*hter's pi:siticn is sliqhtly cii!'erenl ai;d il pcinls to the {uture in lhis respeci. His desire io work in ccntracjictcrv rvays estai:lish*s interceirendent fran:*wcrks in whiclr each stvle a+i$ as a foii for tlre others. lf h* were io allcw the st\,les io pralif*r:lte, the lramewt.rrks v.,,oLrlc beccnte ov*r-burdr:ned ;ln
sse laier lrow a youngef generati,:n of artists has rcoved cn {rom where he lsft .:{f. Seeing th*ir work in ihe flesl':, flo!nr--il,er. is qtite a difierr:nt matler Ricirter and Freud lrave bcil'r enjcyod {:;omp'iehen*civ* airings of iheir work in tl're last t,.r,;elve nicniirs in the lrlew Yorl< l\,letropclltan and T:rte Britain iespectively They have uld n:astei ;tatus; bu'l shcws rf work by e irert anri vel1 active ge*eraticn oI painlers have beccrne rare +\'snis in ihe publicly lunceci gaiteries lt usei io i:e poi:sible to suruey the iielld at regular sclo ancl mixed sh*:ws. This riuty ncvr fails a!rnosi exc!r";sivel-v ic tl-re conrmeroi;:l galleries, an,:i they lra,re th*ir cwn agerrcla. l,,,ieasuring tl-re qualitrr cf coirtempcrary praciice \ryas a sin:pfer '"A"tg ysiJ!
task ''^.rhtiin rrew 6:aiirtings cculd be seen at v,'ell-publicisetj and wall riccur':rentecl +;
rnarket ai all iiffes aniJ ,,.vill sorretiiles atten"tpt tc inftuence this tc their own advaniage. -iay Jcplirig has brien suspectec of this. C!-rarles $aatchi condenrned fcr it br:i the Lisson anc Karsten $chr-ii:ert harre aitracied praise {or pronroling jtev\r tlrough iargely ccncrlptual work. lvtany *f the smaller gallt-*r-
ies that i/oliilg arti*is ar* ri+panclrnl cfi, b;istl iheir juciiremeni ofi cliteria thal rjcn't nec*ssarilv inckrde a ccn*ern fi;r inlrtireni quality l-{aving a stable of afiisis v,rhose wcrrk trr-,ecls prcmoting doesn't ieave nri"rch ror:n trsr anyihing else. Cornmercial galleries rl,'ill soinetiines prr:cluce ce iaf'rrgi:es tc acronlpany the sh+v;s tf theii heite r-known arti-qts i;ut ll-iese are likety ir: be prorr:olioriai in nature. The: schoiarly analyses lhai irequerrtly appear in pubiic ga!l*ry i-;atalolJues arB normallyr Lie5rr:1id bolh iheir rerlit arid their re$(iurces.
I mention this because ii nrakes the :ask +f ocn.:nro*taiing on new peintlng more difiicult :han it oL;ght io be. Tlrs John N'locre's c.xhibitir:n is capable af gi,;ing Lrs an cven{'ierry but it is cne that can easily be sk+wed by ihe cor.-:positiori of thcse rgho submit iheir ,uvcrk an{: t}'iose who jucg* it. Afier thev've conipietecl their iask. tlre seieclicn panei ,.lvill ofieri expre$s surprise at jirsl hor.."' easy it i*as lo reach a unanirnr-rus clecision. This hor.re,yer js ari illusiori. it seenrs a bit of a ccinci
Rae deserves t,r i:e $e€n aF il pi,lneer of ihe rl€r,v grlneralr-: hrir ei:rlier rnici-k shr* doliboraieli,' broke ihs ruies cf expre*sionisiit irandling hy only sf..ou;ir-rg uF $i1irttered rtlmn;inis. Thtl painting fieli .r',,a* p*ncti;atetl hy atienrrt-iioc sr,',rirls and squiggltls ilrat were !E:fi in virtLial isclation. Sl-re apnefrr to be quoiing sn;:tche s of fanriliar painterly 'iext'"rvauld bul the narrative itself 'r.'as cle-coni€xtuaiised. There ls ircn,/ in the way sh* nr!nrickecl the mac ruslr of expressir:nisnt withclrt raising th* lemperature and loosening h.*'r grip. fion's apprriach
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51641s's laler, evefi before his rictoritus pcrtrail cl i'fiyra HirrCley made its brie{ appearance at the Academy'r Sensaticn sh'l''v. He was afier a different sort cf cscl in a series of pairrtings that sE"rbi,erle* the abstraci expressionist *thos. The paint was dollcp*c cn ,sith gust* expressirrg noi angst but ri)
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Th€i ,Jesture nrakes nrore senss if ii's seen es a challenge irot io the prudory ci the p-l;$li;; l:uIl<> ihe pretensions c{ expressionistic peintirtg. Heavyweight
expressirnists cr;ulC alsc be heav,v-har:cied purists. li:i be lrue tr ihe carlse, lhe paintert'y ertisl needed to builil up a lieaij cf siaarri that r-roulri be ,.Iischarged cntc th* c&n\./a$ in a catharii*, erplosivo gtesilire. $:rocecures rfinqec irom ihe cc;micirl i+ [he reverent:ai. I'he ci"rmical wouid soinetinie: be corriical because it i,vi:s so rerverential Harvey,:lisher:j thr: dirt cn suci-'r pietirls by riot allr:win6l tl':e ;ubjeot ntiitier to rise abr:ve ihe scrdirl
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ancl Rae erempliiy et siaii rif ir.'crking that b,:rrrows fronr and then sui:vort** earlier n:eihocl*logies Tl-:ey seem ilrepartlcl to accept ihe nornrs ci p*interfy practice but nat iis aspiretions; aspiraiions that in the ceise cf or:e ar twc cf its ryi*re dedicateci fo[|o".,:ers cci"i!d i-each fevels cl absLircity'uvhr:,re painting itoulc be Ceciated good ont.v if ii was be*. Rae seen':ed io represent her gerreraticn in affirming the capacit.',.' of paint lo explote nicre lhan jusl i'eelings. Her invrlverrent in pritoess \ryas i-nLlre r-:onceptuall5, driveir anri ther*lcre less tnrctiottally corlpror::lsed \A1hat Harve)"' seerns to heve nriss*ci is a hcmecjrcwn varieiy r:f l'roriesi endearrr:*r in th€ 9Ss that he r:"ii,ght aIsc heve beer: tenir:ted tc ridicule. It's *.'orth considering; scnre of theil in rrrore cletail. Thefe has
fxr$n a tr;rdiiion of i-;riitv absiraciion in Britain that has iis roots iit pr+,:ple iike ihe n:r-ich abr:s*d Jahn iYalker. Hrl appreciiliocJ the vali.ie of G*ya's practic*. His infanta haunit,rc rnany *l Wi:ilker's iaier wcrks. Tiir: main ilrrust tlicugli vr",;is lg1a"i;ie'ds a robus:. cubist st.;le wiih e surlace tlr:rt was as tangible and rugged as heaviiy intpacted iarnrac. Tni; aspect of his arici Kiefer's practire ',^;as pui tc :'erieinreic figuraiive ends by l"tr: ilcKeever irnc il'licli*el Porter. They bcth *s*c ri.qii:re a$ a scilrce hr;t itt different v^v';r/s. li4cKeevsr'#crksd crig ina il5.' r:nl* i.a ndscape slroiographs'"^vith n-ionocircnra[ic oifs. lt \r,;as a ntaverick style lhai migirt have linked iriin wiih the de;'::aterialisrn rf ihe cr:ncepllialisls i{ his apptoer:h ned bsen as r:$cl a$ iheirs. Hut his ccn{-:efns \t'ierB ilearer io Kiefer'$. it v';as impcriani io hir* lhat his sriurc€s shiruld he harr"i-iryorr. tnvolving mcre ihan iust a scanner. a phot,:sircp +ackage end a handy litlle mous* r:p tc his McKtlever pref'erred to be ;n the 'andsoap* getting r:rencherj ari'n6:iis - getting frozen ir: Lapland,
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on litaffa. The g:hciagraphs re+orded the ptacs anrj the paint re;:reselrtec! tfre exp+lience.
Ii l\,lcKeever \iJas a latter-da5.. Turner lhen Pcrier nrirsi ha,le i:+en Co*siabfe. His work iir the 90s v';as notahle for its *legan.:e c{ handling in spite o{ the n-rorbi,"iit-v cf his subjects. A* "vith Constable he concsnirated cn his *hifdhccd haunts. Htl huntecj f*r signs cf roi iir ihe Der"biy,shire wcocj* gathering the materii:l througlr oi;servalicn anc then *ubjeciing it lo an ar,,afsnche. r-.f i:aini in i^rlrich llro icxture cf ii'ie Lir.:ciergrolvth, iis sheer r:ntanglenrer:t" seemed io be thorcurghly embedd*ci. There was no breathing spice. *o l'icri;.on, *o escape. Ti:e surf*ces in these paintings are extra*rdrn*ry - Cense, rich arrd crganic The eff*ct is dark anc brcocing as il is wiih lvlcKererrer lt's the aesth*tics oi'Go5,s egain bu'r iransi'or:lec b17 a feeling !'or paint 'rhai has be*ei'iiec iron Kiefer anc Richter's infi*ence. Poiier is a gor:t} exai:rp:e ,:f tlre artisi as c;cniur*r He can get paint tc cr:n':btne anc {izz in wavs ihil'r deiv analysis. This i:l l-*ss true iif a prerrious Jolin M*ore s orize-v",'irrner. Peter Daiq. lle rn;as lucky or infir-i*ntia! *nough ta b* giveir a sncw at "ih* Whiteclrapei lir the late g{is. t{e t,--ro used anrt still 'rses plroiogiapl-rs in;hlch he iranscribes onto canvas and then ti-ansfcrms ihri:ugh unr:sual methods of paint ap;rlir::ation. Tlre !ink with Kiefer. ivith ihe heavit,rr. hercic enC of the spectrunr is r.iot there. The soilrces irre crdinary and cfien delibciateli,i banai Their are rentlerec in a deaciparr almcst of{-the-shel{ nranner wrth ric atiempi tc aesit'}eticise tl'ie inrage. it's painterlir i-.ui it's nai patrician. This is painting ttiat niiglit I'rok iumi: but that shoulCn't focl us for a rnon'ient. There's a Biair Witclr flavolir abcut lhe 'a",hols scenaria ihai leaves -vou fe*ling rjnea$y. The ;inen:atii: associittiu*r are hard tc shake cif !i's ai:stract painling lhat has strayed into {cretgn ierritcrv ani has conre i:ack locking slichtly" cifcclcur.
Dcig's rejeciion of niainstrearn ae-qtl'reljcs in favoirr c{ an exiemporised orccess is a {ashionable position but il s ncl shared by svery+ne. Calum lnneg ior instancs appli*s a high levei oi'craflsrna*ship tc tile lask A lantlscape e',i:os se*ms haunt lris *;ork but it is !itile n:ure iha* e rhadoiv l-ie * hair-shirt ineif-r<;d of prcduction lhi?i sBenrs at firsi :-qianoe tc be rncnk-like and austere. There's a irlnt cf flagellaticr-r toc ii't his painstakinE r*mo,ral oi a layer of paint that he has er;uall.r, painstakingi;v applied. The reni*val i* halted ai the hali-way stage giving the worh an air r:{ unflnisherl business. lneiritably enrJ cf ccurse deliberatel,v, a murk;r snrL;cige renrains lihe a coffee stain on the carptrt. As the iurps mix[ure ruris crff, it 'ruins'th* area of pristine ivhite beforr,' it. Tlre dissoluLion r:f lhe pairrt is ritualis-od a*d the accumi:iaticn of lraces begins io fr:rnr anoilier, mid-icne rec!.errgle tliat's iarcer bui rnore ciffuse ihan the rrigirrat. -i-he equilibrii:nr '.:{ the sin':ple gei:irneiry is {eliberaiel,v r-ir:cierrrinsc $v ihis ac'! of spilla,-;e. The ;;narchic gesture is caui;fri in {lagr;enle at ihe irrte$ace, cr'eating an crg;anic feature t!-rat beccmes t!-ie: wcrk's focal poini t'.1
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The eifect is beautiful aiid tl'ie lhinking hrehinc !t clever Ai th*. point where the artist cecides io wipe off, the painiinE resentbles a typical exemple of pcst-pairrteri';r aosiraciiori. The deconstruc[ive cliani;es a!l this by ercdittg anrl riegrading; -cesLure the surface Posl-Dainlerly abstraciionisis are or in,ere by defiirition resiraiired in theii rrse cf paiirt. -flrev vu'anter:i to draw atter':iion to extension raihsr than iacture. $urferces w€re iherr,{r.;re ciscrete and immaculato, as cf course Calunr !nnes's would l:e if it we:"en't for thi-q secct:
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Fiona Banner's approacit is even n:ore radicai. \rvhat seems at first sighl io be e large, texti:red colci:r fie ld turns oui on clcser inspection to be a breathless account of a fiirl pli::1 ut a n{:vel, often wiih rr:acabre or iJisturbi:rg cofltent. lt's as if she's laken vacant possession of ;: genre ar-:d tr-rrled up in it with a bock. This rhatlenge to tlre uiopian iendencies of -oeometr!c abstractiorr, to iis iniegrity ats an enclosed syste m. is typicaiof ccnt*mporary practice. fxpressive painterliness cc*ld rrever have accomntodated suclr a set
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cf cpposites The; sincerity of gestural handling had
lhereafter.
l{oi, horr'lever, befcre a previtu.tly unrecoCn!sed painter, George Sherlock. had sclueezed thrcugli lo vn",in ihe substanliai $,/est oi inc;lanci painting prize in 2C02. The prize-winniriq paintin-c, "Deluge l', 'uvas prctluced {hri:uc;h a unique ',echni*al prooedure thal fuiii' ex;:loits ihe adhesive qualities of acrylio.
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handled in the rlght r.";a;v acrylic can i:e n':ade t{-r ciry intc a fiexil:le skirr that can i:e n':anipulattld inriep*r-rclerntly. The artist modified this process so thai ne cculd iransfer bruslr-n:arl
\rfe savv sonie gocd examples r::f sintifar iype-t r:f irr:nic aLrstracticn by iJS anct *ritish painters in Vivicl at the NIead Gaiiery last year. The tvlead is virtuaily
alone amon.q the 1,,,1!diand region's nori-corrn-iercial galleries in shavring internatianal ',vork that lras .;isual appeaf . They have resisted the tenrptatiorr tc select excil.isively frcir the list of apprcve,i coirceptualists. Their sho'*, Nothing. remirrcled us tlrat c*ncepiualisnr is as clti as it is nevy. ln nry.' review ol ihe shc'ry I poirrtecl r.rui thal the 'aork cf the 60s pioneers looked as fie*qh. cheeky and relevanr as the more recent rvcrk v;hich often seelrec iri.riai anci pcintfess in r-;omnarison.
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nr5,'
review of Vivicj, I ccngratulalecl Ths lylead for shcrving
u* that tbere's srin'reihing other than becl-making going on irr artists' siudics, I v;ent on io say: ". it makes a refreshing cl':ange tc hie aflowsd a giimpse of tf'ie vifiually forgotten wrrrld cf conternporary painling. Grass neg!ect on tlie partr:t curators, critcs afid bJennial ccmmittees ha.q not. it seenrs, blunted the enthusiasrn of artists frr making arl in the age-old rllaniler of ai:plying painl lo cai'rvas. The results thouqh are nct quile as simple anC traditi<;nat as this rnic-1hi inply The paint f:nds iis wa17 cnto the canva$ in r.r';ays thai are surprisingli; ;1n4 often baffiingiy" teclrnicai."
"ln Torie Se_cg's "i\pparentl,',; Red' i1996), lhe suriace lcoks as sticky as strawberprT jar:r. Th*re's a texiptaiiori nci just tc icucn this pairriin.q btit to lick !i. Nearby. Jonathar': Feldschuh s "Cliniirti*" i2Cri0) create*r tlre opposlte efTect. [{e has ,lcu skiddinc atcross a super-sffiooth skin of paini tlrat is ju*i as busy.' as any surrealisi cr*anrscape. TJlp of ihe class howel'r:r in terms of inventicn is Diana Cc*per's wittily anirnated us* of gecnretry. lt does i:ll the things that absiract painlings are supposed to cio. lt's olr canvas anc ii's cn the'.rvail but it's alscr iri,ring io gel r:ft ihe ltall anci o*to ihe floor so it can turn inlo a ricketv r.,ersion of i"self." treatment and application are imicrtant ihey are specific to the inclividuai. tlrey dcrr't represenI harrdwriting. At e generic levei v.;hat thev cjc iiave in coffirncn is an engagenreni v'rith prrcess that puls ilien'i beyond traiition lt n':igh,t be ihought ihat this h.qs beeri hiippening ihroughc;ui',he 20"' cer':iurv, bui even wiiliiri n:odernisrn the rriost extreryre rnethctjs of ha*..j[ing r.n,ere iie.i tc lradition iii one way or another. The clevelopn-:*iri of surfaoe rvas scmetin:es i:'arrsparent ani ob.,,icus. Locser, n-:ore ;nfclrniat inter.ieniions tendeci io be calligraphic and the quality c;f a mark wfis #ften jur*ger1 r:ot cn iis owi'r merits i:ui thrcuglr conce;rts of lvoril':iness :hai can-re fionr the aesthertics cf painterly ilguratir:n This doesn'i nrean ihat the brush has been rlitched s-c a toci fr:r ccntemporar't practicr*. Tlre i;rush remains ihe most natural and convenieini way o{ appty,ing pain1. !t's v.,,hat ihese articles have beer abtut. These differences
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canre io rcpre$ent lire halinark of painierliness \^,/e saw ho'.r,, Kiefer, Polk* and Ricfiisr adap?ed ihis |i suii lheir ov.rr: pulposes. trlhei yve rrow have is e reiurn io a giiua:"itin in whici: a ni{-rre calculaiiirg a;:i:tude io pi^oc-.ss is inl'luencini; lh-. develiiprlent cf il:^actir-:e. I rjse ihe wcr,;l ret.urll **liberately bei;ause ihere lrave be*n n:;:iry art:sis lr,:m Jan 'liln Hyck tu: Kaiiin:ir ful*levitch v",rhci have a[sG bs]en invoived in i:rnces;; They were not so ntt-:ch ir-iier*stsr," in iha irark a; irr i;.-':ocl*s cf ropresentation whflte the ivi,-u1,,1
br,'fr.:IIy inie.qlated within ct cclhei-
irl sKir of pair'i. Tn.i'/ i'e.-oGnisei"J ihai the *emancl lol ccttsisl.en*),' rsiari br:-qt serued by iire use of -ctaille proceSses. ii'npecceble slirlbces cilrrr:nl be createcl sncr':ianscusi-v: lhey haize lo b+ deliberate. Tlie difier*n,-:e nciv is that Lh+ jjroieoi lias becoizre lil--rale;J irci-lr iis previ':us ol-ljecti,res Prc;,'fs$es an$ rneiiicds have becorire ryjo!e aLrlorron:cus, iTrLrfe diverse anij nrcre si;rpriting Ihe figurati',,e associaiicins of the spcit': ;.a n *ous bru sh -nrark wil I alv"'a',is shorr,, tlr rcu gh heoa+s* this is wnr-,ro ii cerive* irom, hut l!b-:rrate'J proces$es irave r.:c sucl-: tics. Tire;., lilsrr*1are offei' nr.ire sc.jpe for invtlniion. Aili.sis na\"/e respDncjed io il.iis nr:trv frerydonr in nL:rr:hers '*,Jl lrii vla negd novv is ihc r:npr:fiurrity tc seo tlre host of thenr irr cog::th. e
Pr,;ll:r iJl:Di.i:'t:irV ptrl(rri::{.o:iittt:i(q.\l:;:l .:ir;i"sts
Fiona Rae : 'Nighttime 2000' ;< iZ'iclt caitrtr,:sv Anrire }ucllriirtnn Gaiit:ry,
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Jonathan Waller . 'The Atclientist 2002 rrrixr.:d rr:e ri:i;. 27 \ :li) x $ !r'is
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and Solihull This bocii is part cl a brilliani ccr:cept and shcLrld lo w*ncler what tiris cr lhaa rblect v.,,as all about. I',ic,",'u yru irave been ltritlen a long 'iime ago. !t foliov".rs on from r;air sirrply look it up. 1[ is r-nilestcrre and lhanks tc ProfesPevsner's picneering vrrcrk in architecture but its facus sor Nuszlopi' and his rerr:arkable stanclarcls o!' sch*larship on public sculpture rne kes it that rnore inlense. Vtiho any person bu5rini; tltis botk will hal,e a treasure '.rcve. ln *dclitiiir': ic ihe iext ihere js alsc a i;fossary of terrns whiclr is lrasn't warrcered arcunt! a icwn, a village or even a citii aird seen monufi:enis, scr-rlptures. stained ,qiaes, usefu! in the erlrems. coats of arms. trophies, tofibs. tabernacl+s. enc sc on, hoping to find -qcme infcrrnation abcut its origir:s Whal il:en o{the aritilal scr:lpture ta b* seen in'v'1,ian";tckshire? or lhe nan-ie cf the artisi. AntJ ho,,nr ofien have ',,r,'e V/ell, t!. is arirazing in iis lotalii-v. Y*u reatly need io get the i:een clisappcinled aild s+me\#hat frustreie$accori- bock i+ se* ihe spieldclrrs ti:at are :avaitable. What I warit iiigly. No'uv there is rrci longer the n+ec to sLrffer this to coilcentrate +n !s the pcst-Seccncl Worl$ V'ii+r scr.ilpture. annoyfince for all the informaticn ;*o* cculd evet wafii Vfe dc liave scrrie cutsiancling sculpicrs in aur micrii. Oiro oi these is Jarnes $utler" ia men'iber r-if L$r\). i-{is 'Siratfcrd is i'lere. Jeeter'(-19S14) is a sur'erli piece which *leverly surr:s r-lp the Six bccks h*ve be-on publish+d in this series. cf v;hich rioiiori tii a jesier in 3ha!"r.espeare's plays. His 'jarnes Brrridle*y'i19ii8), in tlie Cove*try Barin. glives us a fi.gure ihal is this is ihe latest, anti there are iu;elve more s1iil in ih+ i:r:lediatelll approar:hai:le and d
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Take, {,.rr instance, a wcrk by Ted Atkirison (nc,,rr lcsi rr str:leni, exer.ut*d in 1905 ancl n:ade of pclyester resin 3ni nigh x 3.C5rn vrice end 61cnr cleep. [itszlop5, it,rit-.s: "the scLrlptcr describei ths ri.,firk as 'three totenr-like shapes stancing sid* trlr side...tc
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fcrrn a sci;fpiural screen' The piece rryas r-:,:inrnissioned aller tvvelve years of discussicri f:eiw+en th* pilenning conimltiee. Briiish Hcme Sii:res and li4arks antl Spencer, who hai ieken prernises in ihe Upper Frecirrci. cn 'rhe understanCing that the1, v'oou1.1 ,rt.,r.,iCe some sort ol sculpturel ivcrk asscciatcd ,,nvith theiir build!nge". The er:try r:oniinue*q fcr airoiher twenty lines ccrnplete vrith fo,:tnr:tes. Such detai!, baciteti by iteinised sources of er.,icience, ,qives the reaier e grei?t deai oi c*nfidenure ih*1 the infrrn:aticn imparted is accurate ani fLrll. ln eddition. anll ertlsl nan"recj is inclucjed in biogrepiiical sun:n:aries, so we l+ern a greai deral rnore aboul Tei Atkinson, sucn as that iie \tuas ai. the Slade Sr:lrooi of A.ri e rid ihal he r^;on the prize fcr sr:ulpture in i952. Leter he exhibited in rnany places araund tlre r^;orld aild ihe Tate Gallery, lr4anchester City Ge tl*r;r. Ki:risi Akaden:ie. Drescen and fulCli4A, l.iew Y'orli.. amoilg others. as r^;ell as beii:g Head oi Sculpture at fxeter arid Cct,er:try. ln a nutshell whel emerges is thai this br;ok and the otlrers publisheil so fer give cne vaiue for mcne'y so thai one need no L-;nger con'ie back from a* outing
i;Vhai ctlier r.yorki;
cf cualiiy cio v",,e ilave, therr? Viieil, iv+ liave Jean Parker's ia*olher LSA r::ertberi {ine work entitled tn ihe Stilln*ss'. i1?iiS) a carvecl piece that tcr:k five ryronths lo cornpleie frcryr a singt* biock i-:f iirnesti:ne. v,rhich shorr,.,s e \Jviltrian siltir:q uprtghi, se*rnini;ly calnr in a rirr:piiliecl [orrir. it is a sironi; piece air.J rnosi suitabt,. fcr ii.s loceljcn irr a Scienca Parl'. at ihe Unirrersiirl of i larwll:k y,rhere i'rs inlerrticn is to inciuce cali-n inlo a '.^;orkin_c eilviror;rrreni. Her ctiier rr,:rh, 'The Entolding ilglSsi, is of twc {i,qures *mbracing ancl is rnost appealing as a stuCent piece. v";ilh inteliiilerit refererlces to Brancusi's 'Kiss'. lri aritiiiiorr, tlrere !s Daniel Crerniir's (arioiirer LSA memlier) delighiful rvoik 'Tiger Sculpt*re' i1!;97; at Sr:ulhl'ields Pt'iirarv $chciot. *;here a 5;rin*ing tiger is tying crr a tubtr ilrroi;gh which cliildrerl can cra,*;l: "ihe sculp[r-ire inr:l*rpi]r*1** diFter*nl t*x'rures c;ver its s$#aces and these pror-iuce ciif{erent sour.tcls wheri lapperi. It is brightlv i:rcioured in ./ellov",,. black and r":hite, the tr"rbe ie painlecl _vellr;w". S,lr:li a pi*ce caniairrs a g.lreal deill cf lhi:uc;itt aric artisiry, ior various sriakes also {crrn parl iif ihe rio Clubl tc the ileiighl ol the chilr.lren. His siher v.,,r:rk. "'r*rk, ';\rlistic Piay Slructure'f i9Si?=), is eciually {un as well as beirr*c {uirciionai. llark Titley {anoiher LSi\ nrember.l elsrl has lwo liieces. 'Chil..irs* Playing' (1S99), yvhere he has refidered lnerr: in hisioric ccsturne in a iorrnalised ryranner. Tlrey are life size i;ul he has cau.qht lhe sssen+e c{ children ptaying with legs anci arnrs {lvirr-r: in all *irer:lions. David Phitlips
ffi ilffi Life of an Art Addict This is a bcok well v";orth reacling for it examines the life al e curirus vvornan. who i:ecame in.ralvec in the
visual arrts, in a clear. ar:alytical anC illuminaiing menner There is r.tc attempt to l'latier cr t+ be cruel but sin:ply to ge{ at the truth. Peggy Guggenhein': (1888-197S) ivas e wonran r:f ccntradictions antl par-
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ecioxes and her irnportance as far as art is concerned is thal she formed a srgnificant collection cf inodern ert vrirlch is now ';ieivable in Venice ai the Palazzo Venier dei Leciri, an eigtrteenth century siructure ihai was flever finished. heving r:nly a sub-basen":ent and one storey, but one o{ the largest gardens in t/enice, with l:r-rge trees. 1-{clv ihat carne about is ihe essrince
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Peg$y ',lvc$ one of three Caughters ol $enjamin o1- the Guggenheinrs afid Floreeite cf ihe Seligmens. and tirus her role. as thirc generation of her ailcestcrs lo make mone:/, \.'as io spencl it. Her faihet died on tlre Tilanic i* irecric circunrstances aftd her mciher had the peculi.rr habit cf saying woriis et er:d of sertlenr-:es three lirnes Cf lter tv';o sisiets Benita, ihe eldest end n"rost seirsibfe rj,/cs to die y+Lin.q at 3?, white her sister !*'iarel, a painter" v{r'as rncre wilti than PeEgy, losing twc yolrrlg chilclren fr+nt e fall off a Nevv York skyscraper and rnarrying seven tirr:es Peggy marrled lwice, had t,rvc chitcjren, one of which. lhe daughter. cied agec 42. Peggy',rvas the pcor little rich girl, leaving school ee rly, ha!{ edricated but a serious reeier cl modern litereiiJre, especially Dostoevsky. She didn't need io w'ork but gci e job in a bocl.lsiiop cr:erlcoked by her mother ',rvlro was enxiclis fcr a gocC ntatch within the respectable iewish fraletnity.
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Like so inan'r' Anrericans in the 1!i2D*q lvith a restless spirit she found I'ier r,tay tr; ?aris anci inlc the world of bohen.lia, ailhough not lha pc\.'ery stticken end. Her sexual apoetite is well docurnentecl aild she mal'res mr:ch of ii in her fr';r:r alttobiogrephiee. lt seems she rras lookiitg fcr love through sex, and as such four:d r', as an expression oi her owr: flberaiicn and alsc cs a reassurance r-hat she 'uvas nct as ugly as she thought herself to be at times. She l^iad very meny abortions. Her firsl husband ln;as a writer and e drr:nk ,,rvhc beat het up frcm tinie io tinte. Th* spllt canre vrhe* she took up v,rith John Halms, a survivor !Var. who was aiso a drunk but fron: the Flrsi "iVorf'i rtgain a wri"er of sorts. Peggir was nol a rriclent one. to claim him as tire love of her life, befcre he died fron: an ooeralicn. Oui riding on*. rlay. he fell and i:roke his wrist. which wes ',rurongly set and theil re-sei bu'., or.'er ihe 'yeera called for e ceuse of pain, sc tiiei .:n +pereiicrr "r'ra-q was fuli but the doctors cjld not realise their patient of efcoltof frorn ihe previous night" end tshert en aneesthetist pi-rt him to sleep he did not wake upl Then it wes ai:other writer she i"rok up u;ilh hut he prc,;ed too niuch with stronE lvlarxist beliefs. li was then in i937 as they- separaieil that the noircn of rurrnirrg en art galler;t came into fccus. Her uncle Sclomcn had amassed a collection cf Cld \.iasters and was
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turnirrc his e5,6 tor.r';ards Kandinsly and 8auer. This becan':e the mcnrent of iruth. for a sl-rorl affair ivlth tlre ariist Hun:preyJennings ccupled u;ith advic;e fr,:n": i,4arcsl Duchan.:p led io the establishneni of 'Gr-rggenFreinr Jeuire'galiery et ilri Ccrk $treet. Lcndon. The firsi exhibiiion in Jie*uary 19ii8 v'vas thai of Cocteau ic !)e followed i:y Kandtnsk.',, 6n6 {ie'-iric I'lorris ilihiclr rniculci iake the +rcgramme throliqh to Aprii jir ihe n'reairtime jn Paris Pegg.v hac a passionate liason v"'itlr Samuel Beckett then in his fifties whioh was irrterrupied when he was stallbei bad!;z iil the streei and had tc be l-:ospitafisec.
]-he nexi exhibitioir o{ nrc
Peggy'r,'as in Paris br:yirrg iis inan'.i rryorks as she could seemingly unarr.,are cf the cianger she n':ighi be pr-itting herself in As an Ailericair ciiizen she felt safe even though a Jeu; but sh<; left fcr the r.iiroccupied zone i*ic days belcre the Nazi's
entered Pari*. Eventually bv ihe skin cf her teeth shf inaniiges to arrange her cepartlire aird that cf her fainily tcgether wiih I'lax Ernst \n;ho in;as tc become her irext husband. $lre stavs iir Anrerica ior tire duratiorr of ihe u;ar aird it is here she supporls Jacksorr Pcllock anC helps nrairy cther /ri'nerican artisis .,,'rlrile still building up her ccilectian, orrly to return ic Eurcpe and eventuall;", $etile in \"/enice There iryas nrucll ia'k oi her t;ollection conrin-e
to the Tate Gatlery airc th* lascinating irtricues that fullo',v tacether wiih accounts al her new ilan niak* up the rest cf tlre bock. Her perio* of collec[ing '.^;as fronr ihe laie thifties tlrrou*ch tc the fifties and sh* was always 'fiell ad.rised. rr. rich coLiiij i:e very mean about day to rjay expeirditrii'e ai tl-re saiTre lime nraking generous atlorn"'ances tc il num'l'his ber of peapie anrj causes. back has a detachr:"rent ani obiectivitv ihai is refreshing v;ithaui *ny hini *i syccphancv. lt is an eye opener as to nciv th* riclr mi_oht stray inic the'risual arts, stay and ,:o Eood ',vhile at ihe sail,}e time enriohing lheir $/orl,1tsi'r sl-r+
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Kevfrn Farrish : 'TFrs *iseovery' : Jaste Fowetri's GalEery, Ksnilw*nth.
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ci pcpular iccns. Her* is an ilrtist ivho tl-ror*ughly enjoys r-rhat lre is dcing, n*t besst too much by angst, anc oons{:iquently liftin51 b"v mahing n,;nlagt-rs
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our spirits by Srroviding imagery which is l-amitiar and not tc'o cJ*manding. The chi:rf ienge is f*r the artist 1o achieve '.ruhai l-re s*i* out to dr:. lt4y c''vn inclinaticn is tc favr:ur ihe canal scenes',r,hic!r *eem hursting ivith life and artisrry. Parrlslr canre lat* ir: ari an,J there is a s*nse cf untrcul:i*d enjcymont in tl-:e ccn:fort fie p
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- mekes for a certain notion of the subiiffie. The resultant iruagery cari be reacj in verioi-rs r.vays but lhe predornilieni reeding would seem to be of far awey places. whete n:cuntains oenetrate cloucs cr ,rvhere gigantic waves crash on irnknown shcres. Helen Frankenthaler or Rcbert ,q.airschs:nberg cr eveil Y\"/L6s Klain coi,rld be thcught cf as ancesiry, \'et Beresfcrd l'ias incorporaied an acldiiiorral factor of r:iews {rcnr saleilltes. vr.hich gir.,e hin': ev+n bigger visic*s ancl rncre pov!'et 1o engage the herctc This. ccupteci wilh romarilic sen-qe cf tlre i:*l-lr.town, n:ak+ his paintings pawerfui slateriients of the ini+n{ io ',ake your rnind on $cme extraorcinary jcurnelr - but inrhich and rvhere an* when is the pi:rzie ancl asscciatior:s
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Art Gal Eery :
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tu?lsk ffiaff*rty : Con'rmunity Art Ga$$ery: Mick Raife.rty's work at CA\rv takes rni:st l,i*u,,ers by surprise. The imnreciilia re&otiirr-i is io wi:r-:t t* turn the praintings :he *ther wa.v rolinc, sinc* it fe.rls as if we are lookirrg at tlrem frcrn behincl (ratl"rer as iristcrtans cf mediae.",al art, fcr exan':ple, gain valuable ciu*s abcut ihe nature of ihe y.rork by, ex;lmining it fiom il-:e back). Br.rr',vhai is ireing i-Jenronstratecl lrertl is if-ie nature ol the ;rrccess cl making i:rl Thes* r,vcrks are pr+cess-drivarl, 3nc ihe ragged canvas and siructural intrusions ol ,*ccden frarn'res whiclr lra,;e slippieci into tlre picture arr+ delilrerate. Tlre elfect is to i:chieve a fiickeriirg +ualiiy o{ tone, a haphazartl ccnjuncticn of spatial intrigue, i:u iri*ng c{ th+ugltt as to the rtal:.sre of ihe creaii\'$ prccess. h4r.ist r:f the rn;*rhs are cjual tcned, [:ut one - whiclt is brighti;', cclcurecJ and nas tlre appearanc+ +f a gan'ring baard 'with tlre nrovtls rolcrded - exitlncls tlre rarrge. Thete is ilo inionticn to nake w*rk thai has any rerrresoniational association, aircl it is i:s inuch afiefact as inrage. Thi:rre is a thinking mincl behind this exhii:iilon anc.l one that v\ianls tD go b*yond ther satrirated can,ias of h4orris L
Dave Fhilli6is
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ffieresfmrd : **arsmunity Art Ga il*ry: ffi4art*m
f';lartin Btirresforii is ;r ycurrg and eniflrprising ani*t who is n*i i::fraicl cf *iz-.e. He ihinks big and paints big anri his irrag*ry has the ihrlll of {rrle fornr There is tlre cambination of s*en.:ing sp+r':tanetiy tniith a Ciscr^oet gricl cf smbossed surlbces that ,.rct as a fcil ic tlre mark rlaking. Thes* rais*c sudau:#s are obiained Lry splashing size on the hack of ifie canvi-is u,'hich. i";hen *trercf-:ed" causes the reliel as it ccirlracts. This t++ is process-tJriven afi ancl ihe role of the accicit-*ni - ,*ith its atiendani exciten:ent
ln ccritrest to the two exhibitions cf paintings these plrotographs are blacl,l anci ,,rvhiie. Tlie subjects vary fronr seniirraked rnsn lo pigs and there is ail elemen"i cf lhe suireal The cualiiy of the prcductio* is of a high order anc .rhe tcnal ccfttrasis n:akq; for aruestirig inrages. The series cf small photr:graphs in cne fcrn:at, ba*qe$ r:n passport photcgraphs, gives ar.t infcrnralit'y v.,,hiclr brings oul the siltiJieil n*tiJre cf lhe otl'ier work This is ihe dov,/ii ',o earth wcrld where ihe Coci-rrnen?*ry could dcmir:ate bui is rrol alloiryed tc, pr+cise!\, to lei lhe t-tizarr+ aritl the unusual n:arril'est ihernselves 1o goorl effect. Ther* is niore tc cr:me frcrn ihis artisi {cr the smou[dering iniensii.r", thai re,yee ls itself l'res lret to find iis full fcrnr Dave Phillips
ffii*hand Sadten: R*gby Art SalEery : These phoiogreplis have a periocl charnr. li :s nlo$[ engagrng to e*e ihe fashions antl bociy mel,emeilts rf thcs+ rn;ho are frozerr forever iri the;se lrnag,.s. lla*,v of the b*eutifLrily cra{feC photcgraphs go behind the scerres cf the theaire cr ciepict a niornent caught in a play. Vtthat is fasclr'ialing is how Sadler is sensitive Lo ilre grr:lving liheratizetian frori the .1060s on This is an afiist r,l'ho graduaily *ares to urriork his aiier egc as his sccial anc cufti:ral e\Jarenqss grows. There are serious inrages of significant rncnients lhel are ceptureri so well, anC then tllere is the growing bcldrress in depic:ting
iniiniac'/ '*ith a hini ol the erctic. ln 'The Mcdel" {r--rr exanioie, a sr:rprisecl ,vcll*g wornan" irttireC in knickers and bra, iaires on a sLunning s-*rj-sllal din:ension as she faces us fionlall1r. sianding by
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s(jenes o{ ie niiiy life anC benign events ir:i"fi irnages il:at har:e pc*try ar:d plrysicaliiy. es in the riucl* l;ving sc inriocently anri lret so a;:pealingf'y helf ccverec fy gre$$ The wr:rk com€s full c5,6lg and !.he coriiernporay.T rs revealed to shovv ',hat ihe arli*qt is gtili searchirrg for thal elusive irnage that will
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ruest
us as vve vr",snder arcilrrrc, and the ful! {rcntal ntale ilude \rr'ofian beside him mi*ht r,",,ell be that
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Dominica Vaughan : Joy Hayward Sonya Stuart : Avril Moore
ffiomEnica Vaa,aghan : MEllsy's Galnery Restaunar"rt, Hanlsdon, Ceveartry"
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of painiini;s are the n'iost seductrve in:ages in tliis show, not cnlv l'or iheir coioui'. lhe blue 11reen$, ielicaie o:afigs rints ar:d c;lr:'*ini; reds, but also fr:r iheir ccnlpi-isiticn an* the sensitive and expressive
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handii'rg cf the oi! n''iediurn. The mocd and pcsture cf these youthful, adolescent irnages ars close tc that of nrcdels in sonre {ashioir nragazines. With ',he blue ei,e-shadcw air
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archaecloqical excavaiion; the face is rerniniscent oi ihe i'niraculoi-tslv preserved hun:an L;ccjies thai have been discovered iir lrish peat bogs. ln Head 1, the eyes anc iiie lips lcck as if they are sealed and the ncstrils plu,qged, in accnrdance "rvith beliefs anct custorns o{ ancient buriill rites. Althcurgh this is the only image o{ tlaughan's Resurrecticn Series !n the exhibition it seems thai her primary concern is vl;ith reirswal and syrrrbolic rebirth ln this oontex.t Head I coui!tl represent tlie death of ihe r:ld self. The pairrting, Beyond Skin 3, nray synrbalise rebirth. The lowet halves of ihe irr",o nur-ie fernale {igures are obscurerl by- an undifferentialecl texlurill area cf inierise colcur, or.it cf whi*h ihe fioures rise, piioeirix-iike. tn Eeycnc Skin 2. the ti^/o {iuures are a!mos'. niirrcr intages cf each other. bu', are differerriiated: orre is a maiure iliofiran and the cther stil! a girl in her early teeris.They seen to have err:erged fion'r a single foril and are on the point *f separatian. Their heacis are averied frcrrt one another an4 lhe s.7es siill clclse,.j.
Cf the other r,rorks, four are charcoal Crawirrgs and four uiniitlerj paintings. The latier predate the Eeycnc
Page 10
b-1, severai irears, and in c*n:rast to thern, focus attenlion on the female body" Vaughair gives a convincing fleshy realism to these nuce bodies. ln two oi the paiirtings tlre won.:en are depicted cancing.
Skin Series
Nick Smari
Fusfcn' : J*y Ft*5rward 'A*lurEng Aqueous' : S*at5tra $tumrt Fafrntings by AvriE Mc*re : **mrn unity Ant Satr flery" 'Ftra*iqi
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As thtl litle cf her e.shibiiicn - 'Hlluring .Aqrir,rcr-is' - slicg+sts, Scnir;3 Sii-rart kncv;s how t* hanijle parini so ih;:ri tlre ' lir:uiriity of ihe nleclium enhanc*s tire images Hers is a p*rscnal, iirtrosp*ctivr: arfi. ''vitlr iniaqes scnretin':es n.:ade upi cf single colours vvith v+rious ii:,*i:li rticdiliations. This is a wirtful priv*te world created by'ieiica,::"i, so tnat lhe feeiings are s*creriye ancj the very titl*s {su*h as 'Dai.;6116*n', 'lnrlulgence'. 'Wixh'. 'Hcien', ant1 so oni irrilicate this poetii-^ ev
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Al'ril ivioore's paintings ri:rrge wiclti anc far, but the;, *ie clearr expr*ssicns cf tl':cughi. ',+ Walk Thrcugh Life's Lancjsr.:ar:e' clepicts a $air cf boots i:ncl a rr.rnplex laniscap+ hehind, so th;]l it is clea:r ihat thtly r:re symbols ri{
or;lii*n. Sl-:e p:aint.t as she ihiirks. $o ihe brru*h is usecJ as a pen*il and *l'ie h;is a dri:wrr imago croattld in frr"'rii of one. For exanrpie , f] yo/crr.lon sits in a olo.:ring witlr a bteast rev,:raieci at iorhiclr ;l clt!l* suokfes i:rrid s\ffinOs; ab*ve, a crcw il':reatens hor lreald wilh lts beak. lvhile arriund it svriri oth.:r lrcro;-like cre*tirres. Tliis is n*rrative painiin,g ancJ b*cause it is stark it rs +ffert;,ie 'Theatr* cf ',iirar'shclv-* iii the r.r;rp*r regixter il srlries o{ bcots thai seem tc he lvaikirrgl over the i.;pturrreti fa*es artcl br;dios o{ the .ot-.pliiaco bolc'.ry. Thcre is n* ccmpromist'r here , i*r r.rainting has bsrr--:n:e al instr*n':ent ci vvar againsl irrjusttre ani crur:,lt";. expf
Dave Phlflips
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$an ffiarmfcrd: Wonh't$6&-75. Art Gal[er-y and fuIu$euffi, Cevsntry. &.
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::iid a tlis6lla,; cabinet cf the ar-ti*q:.'s siseicl ,. l-.coks nli ex.cepi one r.rf tl':r--: ivr:rks ."vr:re in blach and v',,hite They vvere often smail Lrilt inte;nse imrages ccncerned with spa{iel illusions anc en:biCu:iies Ain*rir:an i;a!nters sucn as Jasper ;chns, liank Stelfa and;\tJ Reinhardt i"vere a r;:aior inflr.rence in orie cf Sai::forij's srnati sketch br-ioks the iitacle ,-ri e bar* eiectric iight i:ulb hanqinr-; iri:m a ;eilin47 was "ifre reminis<;eni oi the Light Bt"ilb ii957i bv J+hns
nrosi sirikirrg leaiure oi fianrfor*'$ !n"'ork, hotn'ever, i-< iris alnrt-.st exr:lrsive use cf black *s i: fleans ci expression. .J*lrns' Niglri Di"i,;er i.rrrcl ,ivilcjerness 1i carne tt: nrind, errid Stella':i Black Paintirig-t, s1;q-:fi sg Reichstag and Atbeit l,"4acht Ftr*i ("|.-abr:ut i.ihei'ates'i incc:r pcsr a".ittg er pl icii l.l ar-i tef ere n c6s . were u n d ou bt-*cl'r !rrfiuentlai. lan Ban'iford's T.'^'ro Bleck Sr:ilares, and aliolher bSacli dra'uviri!] ccmiio$ed o!' six ;cinted sheels cf pap;:r. '"^"'ere directiv in{luenred b5, ird Reir:hardi s so-{alied m!ilimal!si $lack Painti*-cx i-if ihe lal;: 50s. Hov"re,rrr. ur:like Siella, i:tany oi l3an'ifcrd's iv,:rks are r-:r-'riitled and even ',vi-ren titles were pre-qeni they appeared io irave nc sai;ial cr pclitical rf;ieroncurs. Ean:fcrd's preoccl:pation with illr.;sioir arrc ami:igt";it:", ;r ronr'rient througf:cut his rrycrk, The play ci iJark and iight is cctiiinr"rall5,' subvr:rted ii:", ccrritradicnory clues. Expectaticns are ccnioundtc arid rieliberelely rot resolved. thereby cre.:iing .r ielrsion that perliSr accor.trrte.J l'or lhe fascination tila1 iiis v.'ork exerts. Joseph /rlbeis's St'.:d17 t-if Glass Consiructi;:r: - Cabtes. Graph:c Tect<;r;ics. ar:cl Siil:ctu rai Constella tio ns ii.ier* li kely inf uenc*s.
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r*eaiihiesi and ihe nioet impniiani afi Ceaiers anc publishers \,/rllarc +;as alls to iinance iuxurir firie-art publlratlcns oi orii;!nal r:rinis b5r the rnajor arlists cf tit-. c;rV ancl also en:plo--v the iiilest prinlers. sirch as fisrqir'$i Clst *nd Roqer Li:cr,ur!ere. ilre eic;irer airci aguatirrter whc "vr:rl,iecl wii'l Fi+assc ci'r "rhe i{isioire Naturelle.
Fii:i:ssa usod a iliot-:*ss called 'sugar-lifi' con':birted wiii'i ariuatint t* qivo the ap;rei.rrance r:f ciiter:: ,:Jrar,".ring wiif"i a brusf'r lnvenied and ceve'loped in the elghteer:ih celitiu;^i",35 e ilrean-c r-:f reprcc!ucing pairrllriits. it r-cnsisled cf a ccricentrated sugar soli:iiorr rnix+d with a black u;eler-baseci paint in;lrict'i i:ru!c be appliec d*ecllv cnlc the capper plate. ',.iVlth this meihoc Picasso ivas ai:ie to ;jraw his iilages"lvllh qieat f!cenc,l, arlc spilniarieiiy. appt,,,iriq ihe scrluticn !n a varieiy i-:f ways usiriq crv brush-rnarir.s, splalter ar:d r-iribble eiiecls ar:d. in tfie case c{ the Ram. scfi smu.j_qe *la:^k** made i.{!ih his finqer tips {his fincer +rinis are clearii, visibte). Ficassc also ristirc i.] scrap*r or burnisht'ri ic bring li6his bacls into thr: carkei passa[Jos. This vuas pfir'iicularly efi*ciivo in ihs i:as{i, of Frr--:g* v,,here ih{} teajhni{iije gave {crm arrc f.rrillian*e tc il':eir legs ani hcdie:i Cther subjects irrr.;h:ied ,icrnestic arrinia:s. a Dr:g aird a Cei; farrnyard i..,rirds ani anir':ais; .i \,,ery frrie Ccclie:"ei; a l'.lciher l-ien. a Ti:rk+,v. a Euil er:c -apanish [iuli; es r,vell as a hosi cf other creaiureE, inrlurling an Ostrr;li, Lcbster. Lizard and Grasshopper. i\riyDrie lvnc sev,/ iliis exhibiiioir ccukl nct have :aiied io fi*d a '"avcurii* slrbjeci anionfi lh*se prinls. Mine w*s unc<;ubi edly load for lhe :rriisi'.s electrif,vincl invenliveness anci serr-'re
oi huniol;r. Nick Smaii
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.:s ii se*r-: throLigh ihe wrontl nnci of a teiescr..ine ra s p e i.r e '..vt-.i ri d n r,r y t-. n ij ir:ra ch a n d r ir :
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Fat Shemstmne. ; Fai*rtings: Gatl*ny ffiesta{rrant, *cventny. fuTiElsy's
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Shenstcne has iake:-l lhe Ladll Gccliva rri'yth as a hock on v.,,hich tc hang her {igurative paintings. and lras reinier'*reted it in the liqht oi {eminisrt':. She ;:la-vs r,o;ith the nai'ne, r,tsiirc Gc -Di,.'a and GoodEva in the titles of two of her pairrtings.
Sc-Diva out to Luncir clr:picts tivc eicjerlSr wcrien. Cne is seatec cn a settee and hctcis a folde.i umbrelta $lre has a pessive, :"esignec lc*k, if nct a ronteniecl expreseicri Th-* otl'rer, by contrasi, is m+re aggressive in appearance. She is tefiss. somevvhat ill at ease. Dressecj i* a britliant red coat and a iall bonnet, she holiJs a plate with tw<; large rec fruil. On th* wall behind the 'rivr-] urorylen a nrirror re{leds tr,vo fi.r^-;ures - an *ld n-:air anc woman - painteil in grey tones. Fun in the Park lras a sinrilar contpo*ilion. Two rniddle-agerd figr-rres cccrjpy
ihe fcreground.
man with an anxious expressicn seerns
tc
A be
turning av'rey ficnr a su-cc:d figur*. a wcrnan, in,lro advances lovr.'artls him, e;ves cicsecl a*d harrcis +i-ilstretched. !n the backgrcunci there are ivvo r;ther l'igures. 'y'ol*tg atlults. clin:bing like chitcren rrn a r:hild's clir::i;in.c; fran'ie.
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ln anoifier painiing a youn_cish f*male figure inakei except fhr a red heaii -*haped G-strinsi l^;atclres as a red harrdbag!. l-iavine liproLiierl wings. tties out cf the windcw. Beiovo'an cfisr \.icrnair, with l-ier eyes
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Finall5r, in Gi:od-trva Wants the Pup, Gorliva is d*pictecl as hal{ wcman, half serpent. ln het coils a mail lies crushed She is pairited in lhe aci of qrabbini; a strail drg <;ui cf aniither inale's arnls. l-lere Gcdiva is a deryiantjing a*d dani;erous creature, in some respects !ike the N,i*cjusa '*vhcse gare turn*cj n-:en to stcne ancl ''vhc was only deieaierJ v"hen hei own de*dlv gaze was refl*cied l.rar.:k at her.
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The pairiiiir.g entitled $weet Thinos sh+*;s a table lacen wilh nr*uth v;aiorirrg cream cakes, chac*late 6ciairs, strawberi'y cr c[rerry tarts. ln ihe *crrtext ci Sheirsiane's frgurative
painting* the tiile assilt'n€is an ircnic ciin'rensicrn '$,ret-'rt things can have a klitter afier tast* The st;'ong iceas and feelirrgs r-"xi-rressed iir :ires* paintlngs cculd be si.rengtlrerred *l':cl cieepeirec by r..iore r:cncern for ccnipcsiticn and dralving. Eugdn+ Delacroix highly ,731xsrj the :apid sketches lre macl*, sh.elches thai iixed his iniiial inspiralici'r. But th*y u;ere alvrails foituwed up *;ith rjetaited stuciles. l"'le aclmiileij tliat scrrie of the ir*rr:ediacv arr..l spontaneitl; of ihe original dravuirrgs ',vas iosl in the process but believecl ihat the paintings ihen:selves qained iir dcpifi ani po\,,er i*nci, as a r*suii, in authcrit;;.
Fr*ncfrs ffimcon : Fr*nts lSSS-1SSl Wfrflte Roorn B-t*M.SrapFrfcs, f tr'f ReEemt $*reet {-*antimgtsn $pff It w;is gooC tc set:r tfiat Fi.li4.$raphics were selting their sights high in both *f their ripening exhibiilons -. iirst Vicicr Pa$n,.ore and then a Bel+ciiiln of print* lroni Francis Baccn.
Bac,;n !va* persufiCed ic rr-iake ilris sei cf prints againsi. cn* slisirecis. f'ris betier j*dgen:ent. Bacon's impant uloilie$ from his abiliiy tc cope witf-r slar-ighter-l'ior.ise imagorv. He cramaiiseci it throi.igh hi* hanr!!ing. v',hicl': was ian':cusl"v direcrt and uncompromisi*g. i{e vvas verv nru*h i: modernisi in fiis means cl t-rx;rres*i*n but ihrs di,Jn't s1o3r l-rim ai1miring ihe old masters, Velasqu,*; in partir:*far. Baccn's ra;rid lrandling
c'aed son:ethilrg
i* the spontaneity
of ihe $panish ixaslof's
styte but he ni:ped ihe ien'rtrro in a lt-rvel where ihe sul-rject was positively assaulit-rc hy tlre paint. Hven i,vhere the handling
more calm anti coltscted. the undertoire cf rlioit,rnce, cf fiesh kreing no m*re tiran n:eat, was re,",er iar frcm ihe suriace. This i;cukl +;
print. The re s a d*grr'ie r.ri calculation irr the procluction nf fiti-rcgraprhs anc iiqi.raiints that wcuiC have suiie,:i nt*itlrer his lenrptlri:n":ent nor his ier:hrriqr.ie. Bac+n rn'as the archeiypal fast-li..iing, harrJ-iirinking arti*t. Among f-iis cther idiosvncrasie$ vvas l':is rondenclr'to throw hancjluls ci paint at his paintings if he clidn't think ihey wer* '*crking prt--iperfy Litl'rcgraplrs ancl arquatirrts coir'i usually'r:*nefit iron: s*ch treLrir'lrr,:,''ri. Thers wer* hinis here *ncl ihere tlret scnrething like this hacl been atternpiecl bui ii rJidn'1como *ll. Tho sonse cf ri*k. fil Ronrt'lcnr* skalinc cn thiri ice jusi wa-
thn r.:,
ihere was nr)re ihan en+ugfr io cc;n:pe*saie. There a siructlrral qr-ra!ity espeoialii: in th* iript5,'clrs whicf"r translat*d well intr.r graphirl {crm without an-v ic:;s cf in-rpaci Tl':e condensie-rg cif tfie intage in Tripti;ch 1974-77 thrr:,w its sinisier black un'rbrr:,flas into BVrlil r-flcrf:r spiky rrllief. Br-it
\^res
Tfie pr!nts vrere jusl about aifcrdahie if seen as famll;., l:eirlc*ms - whicli soine people iid but r:rost oihers didn't - an investmeni *pp+r"tunit5, *,u*"0 by those v'rith a few spare thonsanris Pr+t'*r l';lcCanh;",
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Susanna Heron : Si6n Bowen Leamington Artists : David Troughton
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$usanna h{*ron : Hlements $i&n Bowen : R.eann
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Mead Gallery, lJnivensity of WarwEck.
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Susanna Heron is an artist that archiiects enjr:y wilh. She has a i,vaj/ cf ooming up v';ith *culpii-rral ideas that are seir+itive io thr:ir lccaticn hut strong in their owrr right. She u*es 'uvater i: [r:t bui in wavs that naturr: ne.,,or r*allv intended.
ac3
uvorking
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-?o correrspond wiii-r her pi*ce for th* ambitious Millennium projeci !n Covenir./, the ['leacl Gallery
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was showing a less fanriliar asp*ct of l-:er wr.rk.
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Page 13
$!6n Sovuen showeri crav.iings in th* oth*r gallery but there was ncthing ccmpuir.,r enhanced about thes*:. They u.iere positively firr:icieval in feel. pariicularly in their sub!ect-rnaiter. ln apipearance. ton, they hacl a lcok that ivas reminisceni cf the Bayeaux Tapestry; but rnrithouri the blooc1shed.
,.rvoulcl
sometimos br: rer:laimecj
cf paper but irore often she hacl u*erj
lair-rirrated tlssue cr lranin-:ade firn-itY'r"eldecl toget*er.
sh*eis ihat rvere
$he avoicled thr* darrg*r of ccun:ry craf: cuieness by keeping the imagery au$tsre bui large r:rnough in scale ir, g:vr, ilrem a sense of pr+sence. Th*! r,^york*d best l',rhen single inrage vv'as ijcminant. $,it.rrcjs like r:o."vf . fic*d, ccfiin even. oame to nrind. It was serir.run etufl that was savecj {rom pi:-faceri pieiy hi; tfie clancing quality ci lfie marks.
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Pelsr l'lccarthy
Leamington Artists
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So Lo reacli those paris cf the public that other venues cannct reach. arttsis have i:egult lo shf:w thejr ,,.tcrh in uncorivenliona[ settings. HSBC Bank in Lear:rington is lhe latest tocal exarnple. $,ft:rk by scrne cf Leamington's lear.iinq ariisLs is on shcwn here. cr-:urlesi, cf Lhe Salty Sira ArtConsultancy.
The bank lurns out tc be a rather {glo*rrry. ralhsr busv seliini; for the ,,.rcrk bui tjorr't let lhat pr.it yi:u c{f. There's sc,fie goiic stuff l*rking iir the shadows. The main dispiay is in the corridor that leadr from the rear entrarice. Dcn't miss lr4lck Rafferty's exotir: 'Gosfiucli'. His scanner c;rai:s Ftrsi;nE Wcrl..I imagery and brings it back to earth in a ceconstructed nranner. The irnages are laser printed an paper and tissue and ihen asserribied as ccllages. The slrict conventionaiiiy of the crigirrals disappears alr:ng ihe \rvay. Stripped c{ i,heir surrcur:dings, the orienlal beauties are plungec inlo a rnore uncertain world where their vulnerabiiity shows. Philip Goddard's clrunkV 'Night Train' mainlains the s'randard of his rlarine based construclioris. These sirnple, painler: moii{s berrel'it frorn lhe depth o{ experienr:re thal tie brings to lhern Sill Jacksr:r':'s i:heek,i 'Shari:en'. on 'rhe other hand. seem lo be showing two finqars to the world. There's a certain arncunt cf pentup ailger here tliat's expressed throi-rgh a diqital foril o{ painterlin*ss. Steve Phillips sho"..rs *n exarlple frcryr his road series ihat hints at soniethinS; sinister round the cornBr. bui there's no such nastir:ess lurkirrg in l\4ariqarerl GoCwin's
irnpressicnistic river valleyz. it's predictably peacefu! arr..l calrn do,"rvn there. SaLty $ira's absiract landsoapes are nlore cienrancing cn the iipeciaior bui they leck the +hallenge cf her eariier images c{ the hurnari L;oriy
#avid Tn*ught*m r Faintlng*, White Rcom F{.Ml.Graphics, Regent St, Learningten Rcad-ritovie irnag;ery atso features iir Davict Troughlcn's shau; at lhe White Room. '.#e're in Arnerica al a tirr:e wiien tiiere weren'l iliry Bushes, just big bcurrcy cars a*c liugle irucks. The rear,riew mirror o{ one ci these provides Ti-oughiori wilh his best subject as the rel'lecleci landscape spiits
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authoritS,. From some positiorrs tl-:e cnmputer's hanriiwork lrr'as spookilir removed and the criginal shape resicred like the skull in Hclbein's
suriaces. These
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It was site-specific drauring told habits die hard) hut
it stamped itsellf i:n tlre gallery i.vails with inky black
Th* ass*ciaiion vlias reinfcrced by her hal.rit cf 'weav!ng' [rer n'iarks int,: *arefuily prepareci
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The criginal drawings lor Elemernis bt-*long tc an inrpressive sei of large glass etchings fcr a ouiblio conc$urse in Japan. The drav.iings thenrseives are iinyr but ihes* l:ecame va*t wall paintings afier passing thr*ugh a Laompliier's innarrjs. The trans{ormation i.va-* renrarkable and noi ji-ist in scate. The draic,ings \lere pulled ancl streiclred tike a piece cl ;:izz.a ck:ugh till ihey enccmpas*ed a rrualf *ach.
art in a gallery; Vou go there on purpose icl see it.
: H$sC Bank, The
ani spliriiers.
The irnaqes are prirrte.J on c&r'!vas usinq liqr";ii light ler-rhnolog5;. The finish is not as sr-:phisticated as it can be using il'iis technique. The paintinqs seern to lack scmething; as a resuil The seleciirre use of cciour can also seeir arlsiirary blrt ii" '#orks betler in 'Ca{4 anc Gas'. Where lhe paint is rrodulaled ii: represent clcr-r*s. ihe formal oonlrasts break dowr:.
There ara beiler exan:ples of this lype cf handling in ilre ciher sliow aitd sifice ii's in a bank. rrou rrig;ht en"lerrqe all l.he richer fr:r lhe experienr-:e.
Parade, l-ean:ington Spe Pet*r blcCarlh)i Galteries don't laok ihe u/ily thei.' tic by chance. A white cube is stifl the best place fcr shov;ing ari ilr.li that rjcesn't nr*an it's th* besi plar:e far encountering
it.
You don't sucdenly ccnte across
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[-es!*y ffianleHs : Library Ga$*ey, Wanwiek UnEversity"
impending fate.
exhlbitir:n. The range of subjeut-nretter (drawn fionr persoiraf experience, L:c*ifiec by clues inielliglble tc the; artist rnl--l'. and {rr:nr references tc ancienl cir:ilizaiions ',rvhcs* "aLrleaux $f;em pre$anted 'rnsxpected[y for inspecticlii keeps
This is ihe i:est set cf p*intings. Elselvlrere tlrere's tco mucfr rsstraint, it,ith acr;tlic-q *ppiied like l"yater-cclours. tt's the subjer-:t-metler th*i hr:fds them [:raclr.. The ccloirrs themselves can be clean and p*re hut their're often scarcely there. Crr a sl':eet r:i S:ap-r this r-:ai: k:ok fine but cn a iargish c€invas they seenr to he faciing avuay.
Tlii,s is a ffiirgnificent
tiie nrind o{ the viewer coristarrtly ai*rt. Co'.rpleC ir,,ith tiiese irnages are rrsre fucderner:ial asper:ls cf tlie r..'iark nrakii-:g itseif. Danieis uses v,'ax wtth a variety af cther niedia that have substa*ce aird weight
in their ovun rigl-rt. Sh* acjn:ires lhe ir"'ork cf /rlar Dy*r, allfiough hers is very riiiferent. $!re shovvs groat attentir:r-r it-.r ';eiail, er;erV brusirstroke giving ei;iCencc of the ir--:iention to nr*ke her phantasrcagorial v';*i'ld ccinvincing anc conrpelling. There is a riclr use of cclour, as scan in the blues anrJ greerne and crangs shaCes; but there are rio hot ccloi:r point.., *quch as characterize Ken Kilf's rruorh ,,r,rl'iich lras a vague aitinily wilh hers. Dailiels ts ivr,:vin5; away I'rcrn n"iere figuration a*c seeking uni.;ersats tlral are nrore apposite tc her l'ision. She has l*ft behind lhcse gari-rt ivhiten*cj faces thai stared cut ilt us from i'igid pos6s in historicat clre*g, and moved into a less hierrar-cl-ricat r,,v*rlrj rn;hertl her iinagination can feetJ cn fantasy
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J*hn Myers
: F*intEngs Rugby Art ffiaEleny
As wr: know, afiists tlat focd just iike
ever\ione
elss. They often like cocking toa, seeing it as an activity ihat's strangely analagr:us ta the i;usiness cf r-:cnjrrring Ljp an image There have alsr: b*en li--rc-qs in tlie past, tire DLitr-;h fur !nstancr* or Chardin, rr,'no have ccnsiriere'cJ fcoc or mcre u-quallv its rsw ingrr*dient*r, io be *i'r appropriate subject fcr an. Fcacstuff-c aiso feaiureci i:riefl5' in Pop arl, v.,,ith sonrtiiime; banal iAndy '*ryarncl) enC sonretimes sickf y {Wayne Tlrir""haud) ccnssqilenrjes. John l."4yers' apprc:rch t* this ;iick;v subject is sonrr:ivhere in the niiddle. There's a tcngue in cheek boldness abaut th+ propositicn that Lrocl{ing hilns anci drizzling sarjce$ might be nc rricre con:plicaled than rlril-;L-:ling pcint *r-l canvas. There's furi beirig h.ci ai -correcne's eXpr?11sf:. anci I guess it n:L;st br* "!ach;cn Pcllor"-:k's
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sonrcihi*g
-quggosiion
in the galler,v noies th;]l
rnorrg serioue is going on bul
lhis is harder
ic -cvvaflow. There are relersnces to ihe glcssiness cf n':agazine ai"1s and the gfan':orisaiicn cf TV chefs ihat vvr:uid sljggesi *qoclal r:cnin.i*i-rtarir hut ii's nct b*rne *ui i:ry the shnli'it*qelf.
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Peter McCafihy
t
*est$*n r*-Frang : ffioya! F*lnrp ffi**rns, fi*eamEngtsn $pa Fermtanaeffi
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The reorganisation cf il':e permanent r-ci:ection at the Punrp Rconrs is as intelligent a re-hanfi as y,ilrr are likely- ta fincJ any.'where li might seE:ni the ivroilg r'v*rr,J to rrse when rrpplied to tfre task oi krror:king a iew nails intc tfie vyail hut there's more tc henging tlran rrer*ts the ey,re. Wcrliing chroncrlogicaiiy", is the usLra! meihod cf chcice but it can be predictabl+ arid boring.
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Ror-:r:: :taff have cpted insie;ad for tl':e more riskt" sttetegy cf tl'renratic association cr hanging like witir like. This r-:alfs fcr great skitl because )i cL! neec tc establ!sh crcss-referencr*s tll.ct arerr't just spurirus. The Tate lvlcde rn was ridiculed fcr the :r bsurdity cf its ci"igiir::1 ha:rg. $r-rme cf the a;suciatir:ns it'i,,as ir-vinE tc estai;lislr ';vgie irirrd e,;en fr:r iir:6"rlacabie *nenries to accept
The Pump
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The collection wcuid loch beiterr in a restaurirnt lrylrere ii would be more at hotne conrpiement:ng or conrpetiirg with tfre fc'cd in acccrdance ivith :he standarci of ins chef.
Tirs vvork is ai iis h**ct when avoiding ail this, as in a set cf three oven-r eaciy chir:ken-q tlrei are har,,in! fun, coi";rlesy of Windsor and llewton. The viclence of
This dcesn't happen here brecau-qe ih*,y- don't try tc do the impc-tsibf e A huidl* of tradiiional iancscape-.. lor instence, is kept at .q sale distance ficnr ichn i',1ari*s' exi:ansive in-:age r:f iJartmoor li's a he:ter thair i:suei e>.en;:le of r3Qs TV-screen ahsiractiolt. Tf'ris i':rooCy iniage glcwers ai the rustic frclics c{ Frederick U'ihiisfis6d *r '*tirtr:,n Dasset Hill' that's shelterii-ig across the v;a_v. ln crre -qti"ide you Lran go from windswr:pt *usterity t* sunn1.' sublirrriti; witirout feel!ng tr:c put cut, But not for lorrg i:ei--:*use waiting rcund the cornr-,r is :-erry Atkinscn's hitingfy ircnic image of Ytis yrsung rlai:ghter cn hcrliday in the Fteii':ders fields. She's smiling fcr tlre c.srrrera cbl:vici-rs cf the ghcstl:; bon'rh craters and the ravaged lanciscaptr tht:t seen to fiavr: matenalised arounrj her. lt's a pr:w*rful "lesi v,re fcrgei" ima.qe. favoutite juxtanositicn lhough :s the cne betv'/een the e:.hibit;. ian van Kresteil's 5:ainting, '3a,qket cf Flowers' ,lf 1'l4C cl-,-nfronts i-ydia Pinxlan's pltoir:grams BoitlE",,q I -llt fronr 2CC1 *Rrih ir*rsions cf nornialiiy are s:rengslv surreal The flov,.'els efe mcirjst. ariificial-looking th!ngs. iik* iapestrir that's b*en stuiled in .1 \./ass. and the iiotiies a;'e suspendetl in ri*ep space like i: hunch of slrarrc*d astrrrnailts Ne.:rby Sianle;r Sperrcer -qhorrvs l'io'uv visi+li can find suhjr-.cts nearer tc hcme, in 30s *citburbis. Every b*ck is reccrdecl, eirery l*af cb-qeri;ed, iI's It4-v
aldest and ihe nsrn;esi
ar hu
nrbling experience.
I Peter McCerlhy
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:age 15
LSA is a pro-active organisation seeking to promote the Visual Arts in Leamington Spa and the surrouncjing area. Our membership consists of both artists and supporters of the Visual Arts, LSA seeks to support any Visual Art of quality and merit. LSA is involved in representing the Visual Arts in the current development of Leamingtons Cultural Quarter, promoting exhibitions and events for the public and establishing studio space for local artists. This rvas secured 3 years ago at North Hall, Spencers Yard in Leamington Spa. Currently 20 locai artists are working from this space. LSA has been publishing artspace for over four years. and its readership covers the UK and Europe.
The Current Membership of LSA David Phillips Michael Takeo ltvlagruder Stephen Phillips Phyllis Davies Dr lsabelie Carre Geoff Undenvood Hazel Shaw Keith Anker Lesley Daniels Yvonrre Boyle Sheila tr4illward David Troughion Paul Crook fieil Moore Jane Mcore Dominica Vaugnan
cillian lruing Janet lnalis John lnglis Rachel Hall Lucy Bergonzi lvlaryene Baxter I'rlalcolm Baxter Peier \r.1ool David Jones Rosy Burman Mark Builock t\4argaret Godwirr
Vai EVanS Jackie Kniqhts Kariik Bhait Linda Henry John Myers Fran Donnelly Colin Dick Peter Scales Bill Jackson Kathy \ /ebstei Mark Tilley Dar,id Lewis Dr Caiherine Baies N4iranda lvlatthe,ris
James C F Saclv Liz Wright Caroline Griffin Gaia
Chris Couch Tim Richarcs Josephine Saxton Jane Wyid Tony Pricr Julia Prior Christiania Whiteheaci Pat Caroenter John Moore Jemes Piaskitt l"4P Dr Richard Yeomans Rebekah Sutlon Saskia Sutton Nick Bond Pat Noble Jean-Plerre Kunzler Mary Carmenta Richard lnvr'ood
Ray Soence Sire Sliikins Ruth Bennion Philiip Sims Zoe )eiler" Philip Gccdaici $lo Finnessey Luise Eliis Muriei Mason County Arts Service Kevin Parrish Yvette Bad!ett Ann Pourel Margar'ei Stapley M;ck Rafiery Pamela Koin Donald Thompson Janet Altv Caroiine Griffin Rosie Bastock Sarah Plumn Jan Hunt Dr Jane Plumb Aiisha lvliiler Sue Johnson Mark Rafte!' Hilary Bucxianci Susanne Perry Pete lr4cCenny Julius Thurgood Tracey $/ells
Siephen Smith Marigold MacGregcr Brian Lamont Prue Prow-ivans Annie \'^iard David Ellis Taiko Threadgold Paul Lockwood Mo Enrighi Rodney Phiicox Charles Appleby
ionr Smith
P G.lr4cNeil
VVendy Bicknell
Moira Larnont Ann Brain Ann Foi'i'esier Ralarshi Chakrabarir iv'liche!le Bowen Claire Mitcneli ,!udith Philcox Jessica Mal!orie Andy Snaw Rodney Barnes Brenda Ratciiffe Pixie Warbulon David lvory
iulia Haves llargzret Casielow Laura
N4erlin
ion Bowles (Art Legacy) Dr Sukhbir Hothi
Davici BrcadheaC Simon Engiish
iennv Hankin
Wendy Freeman Siie Jack
-ressa Bea,ler
Val N4ilchell Manin Gar!'ett
Susie Mendelsson Grace Newman
Fdith llohler-Kloss
james Ryan ir,lan Srnith
Thcnras -€Vlor Jacquelrne Grainrng lan Dove ;uliet Gladsion lsolde Jewiti lv4ary Buckingham Neil Stokoe Lynda Cook Graham Pcwell lnga ilarland Doroihy Biddle Andrea Bujdoso Di:niei Cremin
Jerenry Foster Roger du Pille Sam fllidgley Ste,/e Dawscn Judiih Hickiing Lisa \^iebi: Steve Uoton Nancy Upsnall Paiircia l"4aliett Neii Phillips Jane Powell Rachel Whi:e
Siisan Burmal
Lynsey Cleaver David Broadfield Alvar Hadland llona Pike Barbara Gekowski Anne Cole Dianne Greenaway Bafuara Shokley C ;. Ouppa-lvliller Lirrdsey Da,;ies
lris Bertz Satiy Sira Alex Parsonage
Anclrelv Flin!
Rosemary Keep Aifreda N4cHaie Alan Dye!Aiison Lambeil Nick Middleton Kete Preniice Diana Francacci Sally Carpenter Sally Tissingtott Sirnon Shaffe!' Pegeen Taylor Drana Archer Laura Ta:vlct (Artuarelle Fictures) Davic Harban l-rnda Reutt Jean llaucer Selinda Huqhes Emma Henqr Nick Snale Rod Dorling
Karl Tovr'nsenci
Shona Beard MaF.in Beresford Chris Browne lan Phillips Karen Ford Christine O'Sullivan Davic lvari Helen Sone Caius Dutton Helena Gociwin Joy Foy Russeil Sankey Steff Hutchinson iames Buiier
ionathan \rvaller
Stua.i Ellis Ohn [\4core Phil Ccrbett matt iones .lek Sheridan Jan Rawnsley P. Roland
Brian Sap,,veli Stuan Clarke Eiaine Clarke Gaynor Slrarp Roger Sargent Lis Prescott Thomas Taylor Lincia Rasa lv'larari[a Rubra
ilizabeth lv'iarsh iane Chapman
Tim Griffiths .iane V,iilliams
Susan Coorner
fi,laureen HawkricJge Caroi \ryheele!' Nimrit Rai Linclsey Kemp
iean Parker Vannetta Seecharran Richard Sadler john Gilks (HI\4 GRAPHICS) Heather Gilks (Htul GRAPH!CS) Carole Cruikshank Harnaik Ray Tony Cantpbell Angela S!ride
Cllris iackmair Rhoda eertz Nornran Jcnes lvlaxuieli Whiie Sonia Stua:-t
,!ulanne Barry
Receipt { Membership
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Please send to : Grace Newman. Membership Secretary, 20 Culworth Place Leamington Spa CV31 3DH
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t5.00 Cons)
Terry Atkinson : Mark Tilley w
Tenny AtkfrE?som I 4 $eries tS74 '1S92 Fxhibiticcl at the Fu*rp Rcoms,
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The r,vcrk on slroiv has fcur asp*cis ;lncl goes lrack as far as 1974. The ryxc,:rl!ent *irsignecl inircd*ctic* irr lhe *ati:icgue n':ake s it clear thai Atkinscn lred i.ln a*istic history sver: belore lhen. He lnras one of ihe mast*rrrinis behind 'Atl & l..angu*ge'in '1S68 having en'ierged fr+nr ihe acaclsn'iic context o{'the SlaCe Scirocl cf Art. is aspiratirns tcs;e rds inlell#ctilelisr:r led eventually to the Cisscluticn cf ihe art object intc a phiioso;rhir-:al wcrtrj unrlerpinned by I'Jlarxist aelstfietics (r\dorno ancl Fischer anlcnlj r:thers), anci the use cf v";orcs sr-ich as 'ont<:lcgy' and 'hermeneu-
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of the surface or the mark-making but rather on the pcliticirf signi{icance of wlrat yoi-; vieu.r This is political art with a rnessag€ of intensity clefivere{t by,r an engry n:ail rrvhc has soniehc'w been rheated ar:cj sees ',he iryarld er; shadows full of duplir":il1l. Tl^iis e rt has ccnvicticn. it he,s a ffessaLce. lt sets out t,: wake .'/oi; Lrp frcn"l vour duli *rccei:tance. This is the very stufi ci pri:itesi ani wheir ciinfi<;*ted b.,, qonfrcnlaliori. a':l in tlre per$on of fhaicher who tc;r: e;as full of conviction. we ficve tc tl-ie era cf extreriiism. 'The lrish \y'J,:rks' arre a case in point ancj lroln; topical cor.ricl you Eet?
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The 'g;uru' *morged and his infir-ience as a teacher l'vas such that generations *f an stuilerts lvere made ic think abcui ,-';hat they ',.;ere: doing ancl eveir tho.se oi toriay are still now producirrg v;nrk that are'iceas'-generaied.
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Ths attitude of Alkinson as revei:leri in this e>;hi[:ition i* r:ne wiiich is toierebls in a toleri:nt ,lyorlcl Y-et if 'ryhr:t he say,s i*t true ihen wa rrlcvs to lhe dangercus e icilncl of th* di*qnrantfir:g 13{ +ur institutions and the very sliuctute of our scciet'y. Tiris is n'ieanirigfirl. strcng, arresiing, questioning art. lt goes beycncj the surface aild rould tnerefore be thoughi to ne dang-1erous. lur jts lesscns cculcl lead ro revolu{icri but *ol: rrl an ilrtlsttc kind There is perhaps rn*re politics lhan art in this work.
of the cay and is rn nlanlv ariistit Atkinscr'], ho'uvever. stil! cam$is.
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Ccnceptualism b*cante the order
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reiurnecl tc ihe i'old of representatiori anC the prociuctir-in r-;l the arteiacl. 'vVhai. thrtugh, was discerrrable
tiien anc v/ha'r !s rjiscerriable nrJ'"nor iil ihis exhibiiicn is the *nger. This is an ailSrV artlsl {mavbe all *rtisls are angry) wlro Iives irr a '"vorlcj of injusii*e 'vVhat he s*e* aro*ircl him is a r;onspiracy t* rlecei,re. sc tlrat even iirnr.rcence is tairrtecl. We poor folk live a life ,lrVeil, Atkilrson is not gcing cf fatse consciot;sr:ess. get to let i,is a,r/ay urith it. He -qrfects political or significant historical momonis and inibues rhen: *iith an ideclcgy, s+ lhat falsity wiil be rsivealed and lhe butchers of the wcrld exposed. Take 'flnola Ge'/' wh-*re he depicts the plane lhai
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Mar$q T$Bi*y : $cutrpf,ur* L[brary Galleny, Unfversity
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A ilgure. iarger than tite size, se*ms io hclci hr,*rsetf tcgether at tl':at g:roint in time vu'herr,r her assentbiecJ parts ar* al:out to go crt-ishing iil ihe groilnd. $he'* nci i: i:ietiy sight; slre's nct meani tc be. As on* visitor puts it " ..;n€'-r app:ealing and revolting ai the same time." but shEr iras a flesh'v preienc$
that's in stark contrast io tl':e unyiekiing nirture of th* siuff she's marie cf ii's beaten nrelal, an appropriate on*ugir n.:i:ierial f*r an r:xr:ngine*r'uvhose studio is yrithin sti'irin; cistarrco of fuieriri*n, l-.rut not ihe usi;at m*diLim of ch*ioo :cr s,*rulpfcrs *f ihe hui-nan
form.
The large figr-:re is peri ilf *n ens*mbl* tfiat inclucjes three smaller b*i *qlially aripie icrso;. Th* best cf these, 'Liber:y', has a blue o5ralesr.rent silf*ce that ircnir:*lly make*" it seer.l evfln more fieshy. Tho fcrrr is ilrcre *onvinr.:ing i*c. It's irot eas!' to sr.iggr:,si mass witir i:aper"{hirr n'reial bi.it htl does it here. l\4ass can also h{} slrgrJ*strrc
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paFer il'rrcugh +rawing.
Therr+ are oi";e or i',vo exami:les ir';h*re tlre pr:ncit cioes it* johr in a ccnvinciirg manner. -; vieriiy :'ninutes se erns the al't'lrage,
thcuglr ii miEhl hai,'e l;*en i:seiur ii he'd occa*i,:rnalfy r:ressed on fcr longer
sculptures. A sei irclieys il-:al c*me his way are beaten intr:
Therry'* nc, lrol,Jing back tfrcr-rgh on ;he ,.:f supern.:arket
[rn:issioir an,i reconstriicir-,c as chi:irs. They' re intrrresting in iheir ov,,n righi but they setl*': inccngrlrr-.us in ihe presencer *f the ligurative uicrk. I!rey.' b*long tc e diffei'ent, surreaiistic terrclency ir-r 'uvhi*h hum,;rur ofien plays a part-. The ligures si,i
1'es. it i* an;Sry a*, but cces tlre ar1 rest lco much ct-r the eveni or al-* icpic cr tlrs n'i,i:ment which is ahva-vs r:harged v;ith huge histotical ar pclitical n-rcrn*ntum whetlrer it be a urein'ing of an inciCent of vrar cr generals ',^rho are 'the guili5."? Lo+k et lhe dra,.r/inU c[ the phctcgrai:hs of the First tl"/orld \'1iar. lL is i'ar
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rerr:orred {rr-irn ihe analy,tical shiil ol the C<;!dstteailt Qila[ii5r 16 ;1. lt se€rrrs io be saying yot"i could all clo this. So the
cr Ugll*'.^", schocl anri has a iraive
are frcm an chier. earthy tra'Jitron that's inh*renilll more {ormiclablo. They rie*ded and p*rh*ps ces*rr;ed to have the r,o;hol* space ic them*elvos Peter lr4cC;ififry
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Burditt: Callen : Every: Mchale : Sutton
At tirst sighl it seery:ed an unprcpriicus .renue. for an art exhibition io be located in a terraoe house on the Sydenham Estate in Learnington $pa. 'fVas the intenfion tc bring afi to the People? The whaie housa irhich lracj recently ireen refurbished ',vas given over io the artists so plentir r-:f space was available. The Pecnle could ccme if they wanted to as eniry was free. lt 'vrias a oil* off and consisted of two ideas driven ertists and three who cculd be categorised as in the rnore traCitional nrr;de. To that exlen', it was a rnicrcr-:csirr o{ the targer ari lvcrici and coherence rr';as n<;t the order cl lhe ciay. ''/lhai wculd tf:e Pecl-ile make of it? Bur
cf il all u",as cverwlrelmiirg. The 'clead' grey bircl' spiatiereci r:n ilie lloor was rnacie up oi' the very nraterlai ihat killed it. The iron5, 61n6 ihe savagery was noted as a strikin-o display +f thcui;ht and feeling. Tlris artist is orappling with notions of anibigr"i' ity as seen again in 'Broken Glass'where slabs of glass i:f rjifferent colours i,vere stackefi bir {hs s;q15:i oi an image reconstituted ihrough a phoiographic lirocess so thai ive saw the nrolten staie from which lhe original came. Again a reminder of hoiry process and rnaterial can prodi-rce different resuits. Her thlrd ,,vork ivas concerneC ',vith a conslructecl butterfly u.,ing delicately suspendec in a small bowl of mercur.v, slrra"cl ir: a tall glass specirnen iJor:'':e. placed
cn an elongaier-j side lable. ',o;here ;.hree nia-oni{-ving glasses cf r,arying sizes enabled tlre vier&er io appreciate the intricacies cf its fcrm and lhe variety cf cclcur. lt u;as a referernce to entomology and the pecufiar dellght of leuiclopierists who srlek io preserve ihe 'beautiiul' tor ever. even while the life has gcne These uvere stinrulaiing and thcuglriful work-q tha? ap'rpealed to the intelleci as well as the *ye. The other ar',ist who soughi to challenge {--}Lrr perceplions v.ras lv4chale whose work 'Pror:ress' *ias atrl ins'rallation set i* a rooryt ',vliere '1 940s180s ilursery cui'iains fiiiered natr:ral light ontc a bench, as $een in a gvn'i pointing towards an utilitarian chair, o,rer '".rhic!'r hung a red naked el+ctric light bulb. Splaved oui threads frcm tire curti:ins ocuid be seen as .: ;rlacenta leading io the bencl: b;v ineans of an urrhili*al cci'c. The bench itself wa-q !/rapped in knitting wor:f ilrai gracuated f;'cm pale shades cf pirtk arrd blue to ciarkei'satrrrated recls and biues. lviilt Cifferelrt iextures and thickriess irtdicative of the pes-sege cf life. The rnessage was that .qendeluvas as much sociclogically determined as bicl<;gical The chair rn'o
to reflect on *tructt:ralist luncticnalisis theories of socieiy. in sr.r far all irroulcj seem t0 have a pre-determined rcle. The value ccnsensus blnds society.'together *nd thls insiallation. if scrneu;hat oblicue, is analogcus ',c lhis process v.viih the ro.,ocl ecting as the element of fusion. The recj bulb suffuses tlie roorn with a warnt i,vomb like gicr.v. ltlchales olher work 'Rer-:cnstruction', ancilier instaltatir-ln irr a separale i'oorn. consisLs cf hucle mounds ol balis of l,';ool anc pnrts of knitte.i giirmenis, like ihe side or back of a jumper. hurrg orr a liire across the room. \4uffleci Litierances could be heari fronr hidden *ources such as 'stop *hil[y shaliying' and 'gtit back by nine'and 'wasie noi. wani noi'. All ihe time clc.rcks coulcj be hearri tir;king. li seenr+
Suitcn brings a chitcl !ike quality io fier paintirrgs whr:rre the search for a -qeerningllr ideal urcrlc is radiani vyitlr colour One cou!d run through her trees end find that e:u-cive place that seeffs iinteless. The liquiCitit cf her paint with its pirrk, purple and yeltov,r cclours among others creates a quality of innacence that is beguitirrg. The pig as in one of her urorks srems tc be lacated in a cancly floss environ where pigs ccul,J fiy arid nc harm bel'all thenr. There is no threat in these painiings. The artist painis r*hat is seen, flcv;ers. trees clcurjs. in;ater and sees wlrat is there as the reassuringl eternal truihs that do nct iie, ha,re no preience. the manifestations of naiure. li can'i be easy in a trcubled world to hold io suclr simpb: truihs arrd this is ihe strengtl-r of the pairrting. fcr the luxurjous quality of space creaied by an orchesiraticn cf pastel colours cherislres the eye and gives the nrin.i relief.
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Stuart Ellis : The Tanatalus Project
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Callen's paintings of applers *lthough BtirlisfianS6O indebt*:c io Ceranne r.rre nlore edible and hiolcler in cclcur. lt is itot *qurprising that an eminent art lri-qtorian ,who turns io painting. and very few cr:, slroulc lvish tc folfor.'y in the foo'isieps of the n;"aster cf n'iodernisr.r. A full kncin"'leCge and derntristreiicn o{ lhe modulalioi-r of colcur is dis+ernitble. nc easy lask. and tlris exteirds Lo ihe lwo portraiis. The di!'ference is that th*se luit frontal close ups of {aces have arr iniensitv ancj psvchcloqicaf strength that sugcests a differei'rt pur[,,:]se in the creatici: af a meni-:ingful rnrage. Tlrese tlre pet"scilalissd sturji*s t^vhertl ihe eyes firo thtl concJuit* to the esserrce An*ther i,vork iras the irallirark* *f a Pi*i:ssc n:other and chifii but it has ier lderness arrrl scfinr:ss urhi*h is endearir':g ihe small fran:ed Lrollages ,qhour ai'l uncerstanCing of cohur, form. and pattern tcgeiher lt,lth cr:rnpositicn anti re,",eel the n'iore iniividual st5;fg oi tlre artist. The varietrz is ri:rprisirig anC norre seerred to repeat i'or there ar* slight
ated giving si,ffa cata cii': ihe artists. a cf ihe locatior:, ailc sc on. it is so eas'y' {or ai:'nap exhibition tr: disappear into itothingness wiih nc recu;l of ihe svent. lf arl is part r:f the hislr:ry cf irteas therr ii is irrrportani son:e erridence r-ither than thi-- primar.i siir-.ir{::es shr:ulcl forn part ,:{ the enterprise. This 'r",as a gccd conrbirratiorr of irrteresting work and slroulc l-rave rnteresied
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#ar*sd*n, **ventry.
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This exl'iibition of te* v'/orKs or so presenis us i.vith .,,iews oi lan$scapee ihai are nr:t dripp5,. slushy, or fL;tl of 'nalural' neilrre Rather they are abs{racied so lhat the vieiver is coirfr.:nied b5u areas of colour a*d lines lhat :i;zag Lhroui;hr:ut tiie pitlure plane i'here is a starkriess ancl dranra abaut ih*se iinages afid nt>.;er anv t-rreteirce to create illtisic:nism. lt is *s il ihe nrorneni *hcsen ic .-,iero; the scene is heavy *rith appr*fiei'lsicn. Flat arr,ias of *clcrrr slide int; eacl': cther ci' arr) clsir':arked bv ;in cutiir-re tc create at iinres e sfralii:r,'.r -qpace anc at others an infinit;t. The prrlette is r:ct se'Juctive ai:d l:as an oy:acity witir fia;l':es of lr'hile as :f ,come rratacly-qnilc event is about io be 'rnleashed These ars funcanientailv rcocC painiings. evoking cffnirasts l;ilh shatt-e cf iigiit emeri;ini; frcnr h*ev,v slabs tf pairrt. sc;ueezec rJiJl as if lhe atisi iias iiacJ a i-nornerii of reveelalion. 'ilercily are ilrose out. When a .iasi iniage out '1,'ordi; cf $piritul lvir.rndi trcubles my sight'. Using; acrviic ihe i*rti$i has ihroi-igh t+nal coni-:ira$is aitc broken iiri* reiaiecj ihe mappings cf n:occl, breaking the cr:lcur aroas into discrete pfissages. The i:cfcc,ir is v.riih blues, blacks anci activated in *nus*al "^rays grrjeils leading tc dissolrafice. lrt scne '#crks il'rere
is an an:bi,qr:ity so that Lhe ouiside ssems like an ins!de as if great gusts were blowing through es in Turner's 'Peiwcrlh Hcuse' ueries. Yet lhis is a maturirig of Ellis's pevious ivork anc i:ii{ers considerabte coherence, givi*g an cverilil unity air
Th* TaffitaHus Prmj**t: 'Fiprk' Lanc$tes€er GaB$*ry, Art $eho*E. Usrlvsn*ity *f e
oventry"
Th* artists thrrt forra 'Thti Tantalus Prcject' ha.;e ccnie ilr frr:nr or-tt of ihe colcl +f pubs, r,-larefiouses. railwa./ siatlcns, ernoke and iridifference e nd er.,en h*siility, r.a";here prer",iouslir tliey have Lakerr their art lo the 'peo5:le' This exhibitiori in a proper arl c_laliery has the lhsrne i:f 'Pirik'. far rernrlvecl fr+rrr the protetaria* environrnent that characterluei their ear!ier venrl;rBs. As such ti is a very success{ul exhibition. fcr it is vrell hung and l'ras variety and the ihenre cf 'Pink' pr-ills the v"crk tcgeiher in this spacir:us ancl pl*asani venLre
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There are sonre well kncwn anists -qlrch as Ann Power vvith 'Green lssues in Pir':t<' y'there a stand wiil-i ihree ;i rms f:olcs
len g*rments per arrn ,ryhich are all pink. This is a :ransformaticn compared ,lyith her previous work anrj brings her righi inta lhe magic circfe cf c;onceptuaiisn:. This is a wcrld o{ r-raiegorisation. rtrcleringl it*d i;rnlrol sc ncihinq [s Lo be wasled igo*d oki charit5r shops) and past r?"ierncrie$ ffnd associations kepi for ever ancl ever afic a lay-. There is a poignanc;' aboui these hlrrc ciothes that have been discarde* by son-:e and are av,"/aiting iheir neiv cwners. Laura Merfin's 'Piccclo'is lik* a subtle cot*ur exercise in pink. picking up Pcvu'er's ik-.iihes and iransformirrg thrrn'r intc the nrarks of afi that aspire to the cr:nditicrr cf rnusic. as formulated bir Schopenauer and Pater. Across the roon'r Mrs Srrith ihrougll rn*lti-n-rec!ia firesents us witl-i pink girlie slrapes that tease the hr"ci* wiih their sufl Lreguilii:c {i:rms that have the hini cf an Alleri Jcnes. So throu_qhcuL ihe exhitliiion 'pink' is the cr-iorijinatirrg faotar u;liere sonrettrn-*s it is subi!1r ai[udeij to oi mani{esl[,; obvirus.
fnin-:a Ric;hter's 'Passing of Time'depicts an image of a series ci girl like figures ihat riance thelr way across a [:ia*k surface in pink ,Jeruish motio* rvith their legs and arn-'rs vir:ually dissolving. lt hr:s a Hcllvwaod *ptirnism an* ei:ergy *ncl evckes the rjan*e of tin":e and tc hr:ll ivith ;i. ilavid Srr:irdfield's piec* !s lilce a sut.f board ,i:r an !r*ning bcard'uvitf-i i1 Si. Georgo''* rir:ss ;rainted on it. lt has been lransf*rme* into a shieid with mark makirrgs and v,rcrCs
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*dorrring the surface anii bringing intc plily Rauscheni:erg'o era y;here dalr to day cbjecti: chancJe thror-rqh lhe imaijifia-
iion ct the ariis[. Tr<;u*aht,:n't 'lVJartyr,,icryr'corrsists oi differerrt kin,Js c{ swcrcls rei:resei:teci lhriiugh iine erid arranged in the lcrir of e Cro*s and wtth ii are all the asscriations r:{ a li<;iy e,1ar *r the deisnce cf lhe realn':, sin'rple i:r:t efteciive Viiinilreri Wiln':ot's 'A,raianchr:' is sir;'rpl;,, ihat anci re.;eals tl':e pijri/er and energy of riisintegrating mour'::ains vu'itfr boulders anc tcrrenis r:vohing ilrat serrse of dinasier a* ihe naiural ci'der cf thit-:gs falls rrperl 3t rs acccmpiished arrcj fsr renroved fiom the cosy a;socialions of a 'pirrl<' utr:rlcJ al comfoit Yet. rnavbe thal is an asscriation tao fer, fcr irr Frank Phc*rl*oy's v'rcrk 'Girl'which crrnsisls of a snral! round mirror rr.'ilh a pink tipslick han.qing on a siring ar:d the inrpririt oi'tips behirrd
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The Tantalus Project
sheet glass near to a ,",cice ivhicl": stafifes the ';iewe r uritlr phrases -quch as 'Go gct ilrem iiger' ;rnc cther more sailc!.' uiterances. lt is clever anc arresting r:nci pink takes cn more chaflenging connctaticn-q. fi"4artin Ccrley's Sriapshots'are lilerall'-l that but put in rovvs anc.: evok!ng as in 'Edgar Allen Poe' series a nostalqia. v",itlr a surreal atnicsphere, lhat ha,;e a pertcc' {lavcur anci ;ar ranging references thai cry out for {*rthei' elr-rciciation as in *vocaiions ol Leirncn cr u;ctilti that spoii ihe rliystery, for these i:hoicgraphs do ira.re a ccwer? Heather Kcunri's 'The Break cf Dawri' shclvs a nakeci \^Jcnran in a b+:cl sit lcicaticn sianding as if a:{ter st:me ev*ni vrith writings on the r,vall, such as 'On!;v vVomen Bleed'and 'Left nie lonel;r ani cor--:fused'. l-{*re again the'eminent' Si.George's flag is evideni and the handling relates io tho narrative wiih barbed vyire effect ar:d restricteC p.rle:te guararrt+etng harnrony as is the naiure of batlk urlrich has been usecl here. lt ie slriktn-c anci disrnal bul r:-:akes sorne siiTrrificoni pcints, anLi visilally' stcps 'y*u in vour siricie.
prints encased in large srnoctlr bfack shiny frames tlrei make
thein pcssess their own world .qnd secreis, as tlre daylight filters through barrrb
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an* glolving
scme pink thrcwn in far gootl i.'reasute. l,,4argarita Rubra's 'Tighi' gives i:s a holl+w ceramic lorso 'uvlth
encased in a bodice nraCe of copper lvhich has been heated and iherei'ore has pink streaks in it lhat ioohs like so:rre {orm of delicate arrllour ilr cr:rset v",iith the lacing lo lhe rear. liT iLs ov'./n ternis it has us laoking lrard at ihis di{ferinq cf rliaierials anti the effects it ran achieve. as scme archaeolccisi r^v*uld lcok closetv at sonr* newl;v di*ccvered artefact {r*m s(:rrTre rentcte pasi
llynihia Chandler's 'Girl in
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Sc this rather ariificial iroiion +f arr uncierlying theme in tne fcrm cf ';.rlnk' zigrags its ivay ihrcughoi-ii ihe e>:hibition. !n Russel Parker's lvcrk 'Kissitig the Pink '.ve iravr," a phr:togreplr of a kiss on lhe top patl of a balding head ,wlrich if noi oi:servc.d carefully could rvell be misinterprreied. Thus the concepi of visual anrcigi-rit1,r rears its head irr so siinple an image. Irr ronirasL Rob Hamp's ivcrk is a huge piece painied
-qtreightforwr:rd painting rnrlrere we ic*k at a figure standing ag.einst e lattice and tre es. Here ttiere is no avoicance of the crilical eye vuhich may se€ faults in the rendering cf p.rrts li therel'ore has an irun:ediale appeal with a beautifully painted face v.rtth sad llri'ninous e:r'es, anrJ ihe cor::rast beirr,'een the red aird blue garrnents of the top cf ihe figr:re i,veli realised. The beii and scrt':e *l the details are carefr-illy obser',ecl with the long siender earrings end the crucifix arrd surprrsirrcly
in +ii v..'itlr iir,.iustrialiseci paint thrown in for
the body deccraticn. lt takes the viewer io ihcse day,s '1,'pg1 such paintings thrille
goctJ
ryrse$Lire. lI seems io conjure up a lr:urney in paint ',q'irich never quite ends with lights flashin-c in the nigtht ironr cars and traiirs, sc ihe journey ccntlnues anci the prcbleni of the painting remains unresclved r'oi it !* a *l+ver mix cf ,",ariolis influences wiih l'"4atta
an,:i Fior':a Ri:e and Jr.:lin i{oylanci nraking brief apfiearances tc er painting that has presence ani 611 Lin*tpecifiecj nairaiivs, Some meirtion should be f:ads cf the three Cimerisianal r;crk whiclr is sitor.;n hr:re i.viih Mark llsley' s v€ry refined and discipfine';i work, This ghcws all ths laniimarks o{ a true i;rcfesslc*al s;hose rnethocl is 'raku' and v";lt';se unijerstanr:iini; cf glazes is mosi aijvanced. in stark ccnirasi Chris Hror'vir's 'Ccrdcn Bteari' ccirsists of stices cf wcori frcm a tree tiunk resting on illeial i:earin-os. li is ir shrewd staterllent that nrakes for an inedible cl*light Oir the subjeci cf {ood one goes nci fufilrer ihan Anne ftrain's 'l,,ork whicl': is a skiller: demcnst;'a":icn of rep'resenting cakes and flcrsers, man!i of inem wltlr a sirons pink fiavcuring. li is the trrvw st:'eani of Hc Rusca and N/ifro5.' :lrat she explcres anc dces i','l;ith apltmb.
1rn* }(eriyr:n. as a ',vell known textile designer. hes sKiifully use.i her kni:v'rledqe cf naterials in 'iv'iicrcscopic 1 anri 3' tc explor* the relaticnship Lretwe*n ctround aird image. The subtl* c*ntrast i:etweer: ilre two works shows tlre sensitivity cf her uncersianding of imagery ccmbining it wiih a ihorouglr kncrrtecigtl *f hrlr nraf;. Tirere is a con{iguratiori of a sensual and beguiling nattrre in both par1s. Allyscn Tysall 'Daylight Pink' consists of tu;c digital
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This exhiiliiion '.:f iwenly or':e ariisls rerrolves arcunr: the theile oi' 'Pink bi;t one co.qs ivonder at the artil'iciaiilv c{ ihe rais+n d'etre and tlre ncti,--rn ci'rn;alhabcu;i', for ariisis are nct wancjering ;rinstrels arrd usually need a base, su,:h *s a studio. Gr,:u;; exl-iibitions are arii{if,ia' enorigh ioc. fcr eveql artisi is a suprenre inciiviciuali*t and tlre best of worids for any *fiist i* therr o.;v'n e:
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Emma tr{enry : Paul l-ockwood British Pop Art Blake lvas parii*r:farly iirfluenced by images frr:rli ihe world *f filn: and pop music arrd by inusic hall artists and his earlv styzls rr**
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ffirsss?'!a h$er"wy #osmrn $ s1 ity Art
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It is rsessilring ir see ihat CA\tf are r:bsen,irig their policy cf l+tting evet/cn€ Frar:e a cl'iancs frt exhib:lirrg if lhey meril the cnportuni$, So tl'iis exhibitirfi
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ei tne Art Ccilege. is an anibitlcus one or-r fiic-inierwiikshiie and it stLrdent
her behall'. it *onrbiiles l*rge paintings witli small*r cnes, figi-;rati,re v;ith ehstracl anc the 'r"'hcte lvcrlc is irer carivas e s she a',lernpts to respond tc ell cf life iri visue I iernrs lt is the lri![c ab;rndcri ci latting ell fiow {rcnr an emoiicnal ro[t--r c+aster ot'a life ihaL cree ies
tlie apr:eal Rav; undisi;iplined ernotion in tlie f+rn'i cf r:aint is *qcrayeil befor* olrr e:/?s an* the en*.rg-v is complusir"re vielvlng as vte seek pirrrire*qe cn ryisailing. fimma Henril is a yoL;ng afiisi ai the cuisei of Irer career end she ie ai that L-oint cf experirnentaliorr ifi tsrnrs cf her f*elirtgs, thci-rghts ancl technirlues ise{cts sire deiern:ines ir: wllicrh diretiion sh* rr.ril! eventually gc. Thi-e qixl'iibi',i*n is lherefcre a sort cf exoiic apedtii sGlisfyifiC in its+lf alid i*e n'tfiV hs,,'s ls ',1'ail a '"vhiie {oi ihe n'iairr rn*el. Dave Fhiltips
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Ge I Heny
This exhibiii+n is fun arid the inrages iltal are pres€nied sfic\tu a kncwing harid anC an ingenious. inrreniive, cliricug nrin,i. Yei ii is ait, ii e**en'ls dcne 'on' a conrDu:er t"rut e Cisiincticn musi lie rnadei tllat ii is nol done 'i;1,' ifie conrou:er Sehinci lhe seemir:gly throv'r ain;a,v in:.:g*s iireL ere produceg to amuse ;l'rildren there wcul* s+e$: io lie a t*nsidereble irragirratir:r'i. These ere brigl"rlly i:oloured. sintpli{iec! anc ellorrnoi:sly aopealirrg depictions ot'rnadc; up anirnais v",rith riarnqs such es 'Dirtif+elia BuErimmus' an* Sirdia 3[i;eanimus', +;hich in then]salves inciirate the complexiiyt oi'thcitglil that fies behind tl'iis exhibiiicn. Par"tl uses fr mocerii ior:l io crea1.e a iyzarte fabled ir,,crlc of sirange anirnais ihat are simpiy,r ceiighiful lc laok al end ccitld bei:*;rvie oart cf any person'3 iarnill,r
Dave Phillips
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ffirit$sh F*p An€ The WBrlt* RsoffiT. h*"MI.GrapFrics.
$eries cf s.;reenF;"ints'*vere published arrc the shoin; incir,ides five af these tarce prints includiir_c such v;el! kncwrr in':aqes as & ior Rainboiv and I for The Seailes. ."vcrk erreryciay sublecls and artefacts are reduced tc the sin:plest reccgnisable forir, cevcid of tscal ccfo*r arrci cieiail I he uss of f!a:t bright cciour creates a style that is ch:se lc thai en'rplc.ied i:r aniiiraied and srrip cartr:ons. l.ia'",er"lhefess, in ihe laie screenprints exhii:iied l'rere, suclr as Brovvir Pot, 19$4, ho eschews pure colour ior ional contrasts anci unusual r:cfour c*nrbiiralions. t"ie :llso p!ays wiih shapes. i:real"iing contsurs end ccal*srin-c er*as cf col*ur, lhat iecali lr-if:isn-: anci iis later developmeni by Pic;lssa.
tn Caulfield's
Tio.,o cf i\llen Jcn*s' liihographs ir-rclr:de f'ris signature in-iag+s of ladies in erotic fco*n;ear. lifted six:iqhr fi-cnr eroiic r:i:gaziires. These are jir>:rapcseci ',viih hand.ciralvn male poriralts that are n-ridv,,ay DBii,veen abstiactiorr arrd fir--;uraiicin. itis enthrsiasm f+r lredilicna! iithr:urapni* ne*hrriques ig e,rir:ient in Cue, i9ii'1, a larqe image dcn:inaied b'/ th* lcni;, sirapei,,, lecl* ,:{ a femate perfcrnter and tlre h*ar:i anC reisec a}i'}'ns cif o ,:cilducisr r,,vith a batcrn ln one hand. Allen J*nes vyas almost ,:efiainly insprred by ihe lith*graph* of Lar-itrec anij ihe cafef;snoert liihographs cf Decas. if noi by Reqinald Marsl-r's etchini;s cf striptease joints and th* taw liie of l.lev; \hrk.
Tlre four *t*hinc;s bv Hcrkney are froin lltustrations cf Six Fairi, Taies from the Broih*rs Griinm. '3983 Smatl il size and
print*cl in !:l*ck, thev appear soinevihat cld-iashioiied end out o{ place. esg:ecially whei-} exlri}ited n*xt tr: tlre botcl ar:d rclourful r,^",orks o{ Blak* and Ca*i{ield l-iamilton cn tire oiher lranc is reoresented i:y
i"nr-rre
r*oent
r\s faiher at Eritisf-r flcp Art lre n;ls alrn;ai;$ shown an innurl,aiive approacir to prinr techn<;lcglv, nr;t cirly of the ilres€nt but also oi the past, Paierrdr*nre 'i974, rediscov.
1..'ork
ers the superlerive qualities of the i:fmosi icrgoiten cott-rt\ipe ilroiess, ishile lris tsathro*n':-fig 1, 1997 enc Baihrccn':-fic t 1's98,, are ccmputer generated inri:Qes ;:rintetl u;ith specialli' de,;eicped lonc-life ink r,rl':ich Hanriri,*-,ir {r:uncl porlicularl"i sltn:pathetic to lhese +ubiects. il+r iroth pnnts he inlrcclri*d a nur-le or partiv dri*pecl {eilaie figure [o a pre,ricusly unii'rtrabite
de.;elcrec bv Dega* in painiinqs. etchiircs and iithccraphs l-iamiHon lra* expressed his ilcn-iiraiion fcr Dec*s' r't':onot'1",pes of weri'ren ',';ashing.t ;:irc at iheir tcilelie Aiiogetirer this shoi,v, anci iirose that pr*cerletl ii". itr* a c:r*dit tr: ih* vi::cir and enthu+iasnr oi th* proprietors of I
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l-i l',1 Graohics ar4 axniiiiiing iwt+l--riy-one ptinis i;y Peter Biak*, Ileirich Car-i!fi*lcl. Ftich*rci i"lairiltcn, Dar,'id f-:ccknt-+y ancl Alloir Jnnes. Tirestii anisis, irct fcrgetting Hiluar"cjo ?arlozz"i, bre:rthecl n*irw iii* into British An in the li-:l* 'i950s and th* 1 9$0;. iinri were
in*pired i:./ pt.puiar mass :leclia culiurt-,1, b',r a';veri!-"incl arii photography, hy strip r:j{?rtc)ons ancl ccnlmercial printing prooessos, such as screen priniing and p:hctr.rn.hcgrapf-ry.
Dave Phi!lips
