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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'
THE
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;lX,T,f TlXi:Ji'3:::::
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lviiro, Kendii:sk'rr arrd Warhoi
1'li Regent Sireet leanrinqton Spa
cobaltuk
ltd
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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1
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
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ihis pciirt I
',rvould
like tc ihank the enormous
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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Page 2
more
o.oei--)-prlan.
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
rn
478662 89533.
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
As
alrl,'avs. nruch seems
to be
har.'e
report.
hreen
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
h*
arouncl 10;<1? feet
.-*xpensiver. but safer, r.//armer. and <irier) tire'r' i'::ay i^vtlll suit a
,Jiffsrent r-1t.tnstituenc)i clf riember. Any memhor !'!'ho \iv.irild
lny'e
Ccnsortiunr.
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Page 3
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.
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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<l
tlre irony o{ his r.rosiiion v;oulcl ber clissipaieri.
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 +;<l-riblticns at ihe Tirie.
the Serper':tins, the Hayv;arc, lhe irViritechapoi end
even iirs lkor':. CL:ratcri*l decisicn-making !'rrts rior
aNn;irys based on s+und j*dg*rrent but irr generai ii
i,;as cjet€irm!neci l-r;v educational rather thar: ccnlnrercial inieresis. Prir.,ate galleries don't enioy the s*ine
freetli-irrrs cr lhe space lhat publicly-funi}ecl galleries
t:an rtiaks i:se of. They have to be consci*us ,:f the
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<ience , fcr exanrple, ihal Aian Gor-ik Jchn l\4clean, Ger:ff
Riqclen *nd Garir !Jragg alt received favoura[:le men:iorr in
li4attireiv Collings'hcck, Aii Cra:ir Naii*n, anc alsc, a* iui.:k
v"olild have it. haql their work accepted ior the 22fid .jchn
l'-4ocres. AIan Gor-ik was even awarclecl a prlze
Collings was ort the setection panel. Gs vvas Fiona i?ae. lt's
teinptinq to llii*k lhat larr Davenport ivas included al her
insisience. but whc hncvr;s? He's an arlist yor"r ivor-iki expect
lrer tc like e,,,en ihr:ugh his wr:rk ceri',,e* fronr a different,
miirinrai, craft-based aestheiio. l-le sets ihe p:aii-rt iree anci
th*r-i rerins it back in throtgh an claborate s'vsien: lrf checRs
arr:cJ l:alances thi:t produces cl*an !irros an* imp*ccabte
silrlacas. Rae bir r:t-:n'lparjson seefits tc work in a siate of
*r'rticly" speciacular flux. Tl'ie anarr-hic ge-rtural elenienis can
be fluoresr:ent, giitzy. vulger. {iven, blii they're also highfy
entertaining. Tttey ars cisiributed across ih* surface tike a
seL of _qaucrr fra.qnrents, rllhel bolh afiists sirare is ilte same
degree of sceptirisn: about the poiential fcr self-expression
thal painlertiness rnighi ol'fer Tliis isn't raisecl as a problerr
es it nrirlht have be*n by Ri;iiler. lt is siniply taken i'or cranted as a conseeLience. you micht sa'n', of Ricl-iter. ihe aeslhetics of sprnlaneous abstrartloir is challeir.ced h:otlr in the
cfioic* ,:rf nraterials and in the vray ihe paint is heki in ch*ok.
Tlre strilciure t f Sai;enfiort's v'r*rk is strictly ge*rneiric ev,:rl:
tho*gh its means of pro,Juctlcn is jr-rst as insistently crganic
fv4orris [..cr,iis's methccs rnight be considr-"rec an *ntecedent
exce pi thai he. ike his cr:ntenrpcraries, was moiivatec hry the
quesl lor ab.qtrert esseriiie is. Davenporl's lieat lricks iake eli
that lor granteci.
f
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 $i1irttered rtlmn;inis. Thtl painting fieli .r',,a* p*ncti;atetl hy atienrrt-iioc sr,',rirls and squiggltls ilrat were !E:fi in virtLial isclation.
Sl-re
apnefrr to be quoiing sn;:tche s of fanriliar painterly
'iext'"rvauld
bul the narrative itself 'r.'as cle-coni€xtuaiised. There ls
ircn,/ in the way sh* nr!nrickecl the mac ruslr of expressir:nisnt withclrt raising th* lemperature and loosening h.*'r grip.
fion's apprriach
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fu'iarcils Harvey raised the tenrperature deliberately
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Page 4
51641s's laler, evefi before his rictoritus pcrtrail
cl i'fiyra HirrCley made its brie{ appearance at the
Academy'r Sensaticn sh'l''v. He was afier a different
sort cf cscl in a series of pairrtings that sE"rbi,erle* the
abstraci expressionist *thos. The paint was dollcp*c
cn ,sith gust* expressirrg noi angst but ri)<cr-:iss. On
each occasion a sofi-p*rn image efir:rrgf;d frcnr the
mire in lineer sillrouette Thls was firore tharr subversiorr, it was fin old-feshioned aitempt to sl'iock the
i:oL;rgecis!e. Unfofiuri$te!y for ihe artist evt-'tt the
bourgecieie are unshockable now tt'ral they're eil on
${irfie
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,
',^k
Th€i ,Jesture nrakes nrore senss if ii's seen es a
challenge irot io the prudory ci the p-l;$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.
$:rocecures rfinqec irom ihe cc;micirl i+ [he reverent:ai. I'he ci"rmical wouid soinetinie: be corriical
because it i,vi:s so rerverential Harvey,:lisher:j thr: dirt
cn suci-'r pietirls by riot allr:win6l tl':e ;ubjeot ntiitier to
rise abr:ve ihe scrdirl
ll*tir h*
ancl Rae erempliiy et siaii rif ir.'crking that
b,:rrrows fronr and then sui:vort** earlier n:eihocl*logies Tl-:ey seem ilrepartlcl to accept ihe nornrs ci
p*interfy practice but nat iis aspiretions; aspiraiions
that in the ceise cf or:e ar twc cf its ryi*re dedicateci
fo[|o".,:ers cci"i!d i-each fevels cl absLircity'uvhr:,re painting itoulc be Ceciated good ont.v if ii was be*. Rae
seen':ed io represent her gerreraticn in affirming the
capacit.',.' of paint lo explote nicre lhan jusl i'eelings.
Her invrlverrent in pritoess \ryas i-nLlre r-:onceptuall5,
driveir anri ther*lcre less tnrctiottally corlpror::lsed
\A1hat Harve)"' seerns to heve nriss*ci is a hcmecjrcwn varieiy r:f l'roriesi endearrr:*r in th€ 9Ss that he
r:"ii,ght aIsc heve beer: tenir:ted tc ridicule. It's *.'orth
considering; scnre of theil in rrrore cletail. Thefe has
fxr$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,
ptso
be
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
{avu:ur*
niat that's akin to
deSg CfatiOfl,
h"subverrs
sends it reeling in the
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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. $urferces w€re iherr,{r.;re ciscrete and
immaculato, as cf course Calunr !nnes's would l:e
if it we:"en't for thi-q secct:<i inierventicn, In ar act
cf Cenlal ihai's akin io cjesecraiicn, he sul-.verls the
ncrmal pro.qress of the r,'vork and sends it reefiirg in
lhe oppasite direclicn. The gesture ei the interfai;e
is entirelir nega:ive. The irori5z lies in ihe presence
cf such a gesture witliin Lhis type cf str!ct geonetric
abstraction. The 'niislake' iakes over a$ ilie subiect.
ffi
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
ffi
to be reaffirmed rvith each brush-strcke for ii to have
anil rneaning. lronic tontent wculd har,'e underrnlneel
the ethos, Richter's historiral positicn ellowecl him io
slip be',iveert tlie itn,o bui the do{ir v',,as firrtl-v closed
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Page 5
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.
lf
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<s intact io fcrm a
cohereni image. The fcrntal char*cieristics ci the
work are depenclent cn an imaginative engagement
with iechnicetly sopltisticaletl proceclures. These
create a visual matrix of sttialec le'/ers o[ palnt
r'.ihioh include sKeins cf rcughly parallel lines ihai
are allor.'red ii: seltle in place organicali;,. He us*s
a way oi 'freeze-dr.ving' brtari, expressi,re Lirusltsirckes cff-site aird ihen transferrini-; ihem intalct bui
"ihe paintir-rg styie belongs tc a {airiliar
irr reverse.
exi-.rressioitisiic tracliii*n that seents to ha';rl l;ud*
cienl',r crashecl. Tlre tiuasi-roprographic element is
irse'i not to niln'ric another genre bui to ca,qt Coubt cn
sini;;le a-qsuniptlcn-q e boLit the painting's authenticit';.
An iroliic distance has hee-"tr establislred i:etwr-*etr lhe
idea and iis execution,
\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.
ln
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
ir-:
becau-qe al:lrough
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abstract-expfesslofiisr-,ri
to fepfesenf tne hdllrTtark'of painterliness
cante
inc iriro ircnrne-i'ceil trick*rv. We <nnlenitateci
in
pan ofle {:}n Vs!asquez irncl Gcya find their ahiiity ta
srstain {r*sl':n*ss o{ hi:nclliitg il--rr+ugh tc th* {inishe,J
painting. 'r/ile sa'"v how ihis it.i iurn croviCed il':e ;:rctoiy pr: fc r the s Llcnt.r ll Fiou s. r,txi: re-qsi vry b ru s i: -stioke
t1':ai i-:fiiriec r:vel int* ai:siract-expressir:ni*cm arrii
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,
,ril an..-i aiciylrc on crinvas. i52
!ection
ilii tlk
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age 6
^,a
'
\.Vi: liave seeir hciv. in the right hancs, it hes produceci vilat. crn,rirrcirrgl in.tar;es vritlroui this devcl,",-
brusir-sl.roke
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,that carried over into
Jonathan Waller . 'The Atclientist 2002
rrrixr.:d rr:e ri:i;. 27 \ :li) x $ !r'is
Eat
ceiona.
Ooiogne , prlv'ate c.ol-
ture
of Warwickshire
:
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<lv.r|l Lc earth as he laoks at
pipeiine. George l.loszlopy has been a driving {orc*
liis v':orkinrJ dra,,r,rings c{ a briclge he h*s clesigried. These
behind ihe ir'rhotr scherne and norv the Pui:l!r: fl,4onuwrrks are skiIful and apI tc the task in hancl.
menis anc ScL;lpture i{cunded in 1t}9'1;" supportecl by
r:aricus funding bcciies. i:eve taken on the task. s+
There is alsc wcrk by John Brir-igenran sucti as an abstract
that. eventually, i:irtuall,v the whole country lvill have
'Crganic Scuiptr:re' i1975) in Lami: $ireet. Ccventrir b5r the
bee* covered. [i has cleari], been an ad *f love.
cily wall, antj a Merriorial tc W. lr,iaiirice lv4ell LL.M ili],Sa;
as the euthar has been he!peci by innun'ierable asin $r:iihuli. btth a+complishet! v.;crh ir,'ithin their ov",,n riiii"rrns.
sisianis. The resuit is rnagnificent, bcth irr th* bcck
Such distinquishe,J sculpicrs are nrit supporle* by Lile r",ork
Cesigrr (by ,jailet Allan). in its easy ha*cflirrg" in the
cf ltdcore <;r Heplvortl:, but Epsieins can be seen in Covenextraoriinary scholarship, end in tl:e seerching nalr5r g"tnudtu,. \l,le are, howe.rer, overwhelrned by 'vValter
ture af ti:e evidence illurnineling the most sin:pte arteRilchi*'s lvcrks, which nurnber arcunC livenir,r H*re is an
t-act Eacl: i"'rcrk js Cescribed" iis origin established,
artist who eslablisheC a repulaticn that errabled hiir to be
its .rrtist, if pcsslble, iren':ed, its c+st noled anc, i{ :i
coirmissicn*d by locai architecls arid council 5;ersonnel. He
lra-q been incved irom its origir:af locaticrn. lts pres+ni
siarted his career in social and lowri planning. and when he
whereab+uis estal-:iished. The entries incli:cle h*w a
sv",,ilched 1c scr.rlpture he u",orked primarily fcr lccal aulhcriwcrk u;es commissicned, v','hat conditicn it is in now.
lies. ilakinq !o",ork {Lir schi:ots, l'jre stations anil <;ther civir
its owner, its nrateriefand dimensicns. Nothirig. literbuitCings ilis fl$rte i.vas can,ing partir:r.rlarly into i;rj.;k.
allll nothing. has been omrttec
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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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Page 7
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
s
of
L
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.
the bock
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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
Page 8
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<jern scuii:ture inciudeci Brancr-isi.
Ari:, lv'icore. Pevsn*r anci Ca!cjer amcn1J cthers. Pegi-;y had
_cot cai-:ght up in ifie Art world antl she was tc go froni strenctfi
to sire:rgth Tlre next exhibition 'r.'as ihat c{ \'ves'Tancr"iy u;iilr
u;hom l=eggy was io ha..,e a short passionate aifair l-his r#as
to be tbilcvved bv one rvitir Roiani Pe*rcse so ihat ner exhibi
tions and her lovers appeared ini tine tc be :nexiricablv tiirked
it ai-to becan:e clear bi,ihe spring o{ -i9}3-q that ihs callsprT 1n'65
ne.;er gcine to make nlcnev and she lrad icsr t6C0.00 which
she could weil affcrd. li ,'vas therr tlrat P*_ogy b*.garr to think
in mega terms and de..,elopecl thg idea cf a mussuni devoiei
to incdern art and accordir-rgl-v approaohed i"lerbefi Read tc
beccme the first director which he eventually aocepleci.
Unfortq-iirately, ev*rr tlrough Peggy lrad gcne ebroad u;ith i: list
oi wculd be purchases drav.,,n up by Read. i,,ith rn;ar seen.:in-e
ineviiable. thc prrject .nas oalled ofi li e.,'entually found fruition in ihe lnsiituie cf Conie nrporary Art f*undecl by Read anc
Penrose ien years late anij still exiant in the t',4ali, Lcndon
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
$/orl,1tsi'r sl-r+
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Parr*s$r $ck ffimf$erty
rd Sfrse*m $mhafffsr $shard SmdHen
Kevfrn Farrish : 'TFrs *iseovery' :
Jaste Fowetri's GalEery, Ksnilw*nth.
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Artisi in resirience. Ke,,,in Farrish. has i:n exlensive
range of sr-rhject-nraiter to inoiutje landscapes. ca*al
scenes. churche,s
i:r'rcj
windnrills and i.ras gane {urtlrer
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
r*vid es ih e
mrt*sr erffis*
- 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
. Deve Phiiiips
SErmon
C*n'rrciLa
v i gr,nvtr-lt
$shaffen
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Art Gal Eery :
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Dave Fhiliips
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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<luis anii frnd an,:.rthsr wav.
Dave Fhilli6is
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Page 9
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
a chair cornplele with r*g
dclls
S*tivsen
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
e
ruest
us as vve vr",snder arcilrrrc, and the ful! {rcntal ntale ilude
\rr'ofian beside him mi*ht r,",,ell be that
itui1h
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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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"'iar"rghan's c';lour studies {cr lier Beycnd Skiir Series
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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<i frizzed out hair, which draws atiention tc burt at lhe saine tirne hldes parl of ihe face,
the rnr:cel is self-ccnscior;sly projeciing a seducttve
inrage +f l'rerself. ln Colcur Stutdy fcr Be-voird Skin 1,
there is direct eye ccntact lviih the vlerr"'er: the look
challenges br-rt is also seduo.,ive. lt is allurin,c but alsr:
gr.iarded. The y6ung woman wairts 5roti to icok at
her. She *oi only depicts rvhaL is youlhful and desirable, to be ernulated by her plers, but also hlnts at
her vulnerability. A rncre refiective and rntrospeciive
.1
rnood is +reatec in Cotour Study for Bellond Skin 3,
and Cclour SLudy fcr Beyond Skin 2, r^.rhere lhe heacl
is turned ar,vay froni lhe viewer anC the eyes closed
and lou.,ered. This pose, atthough nrore passive, still
projects an alIuring iniage. These works are abcui
fernale adolescerrce und techniques of seducticn.
Sirroe L'aurghan used her c'sn daughier as a mode!
fcr Lhese rryorks ii seems pcssibte 'rhat the artist has
prcjecled hersel{ iritc these irnages, at a time when
her daughter v.",as herself recapiiulatirrg the rnother's
adclescent years.
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irom ihe lheme of adoiescence. HeaC
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r'. Resurrection Series, depicis the half L:uried or
half unc<lverec head an* shoulders of a itiomafl.
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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"
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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<lcati*n There is one stroirg figurativ* piece tlrat *i-rha:rrces tlre rest of the work and as:s as a: kr:y tc ihe'whole
Tltcughtfu! anrJ pleasing painilng that inrriulcj frll ?l roonr \,vitn
ocl*ur and i:e itself.
'Flr-iid Fusicn' is Joy lli,iy'*ard's exhihition anc irer ccni:{:,rn
wiilr *rban encrsat:hrrent gives r*n*<idtlrahle focris tc hei
'ur,,ork The ver.,r handling is irr keeping '"vith the message
for it is vigorcr-is Fnd 5,4v can i-ilmost heai the sl*p of the
brusl'l cn the sur{ace. lv4any of ihe shapes are angular and
sliarp etJged Tf ie r:ofours of kriue. oran#e and yellcrv cr:ri:ve:/ afi angor thai tlre naiural ervironrront is l.ieing icst lo
i.i vriofld of ccncrete Tfiere is a pcliiicel din:eir:ion 1o this
in:ager;,'and titfes $uLrh as 'iJrban S;rri:rvf'. 'Titlal Cfrange'.
and 'Far Reachiirg' leavrg littl,..l Coubi a** tc the anxieiy folt *i
tlrrs invasion The hrutalit-v. tlie r-rcrrc;^ c{ ii all is ,Jepicted in
nr-' unlertain teriris. althaugir oh'i{trile l-v rc ih::i th,.l Sraiirtings
are stiti *esthetic and c;atch il.,e e.1rt Biii. altlrough the.,,
seriuce irt.ru, ihe paintings uitii'natellt r.;ai:itute you v,,'iil'r their
1
iclerol+95r.
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. $o ihe brru*h is usecJ
as a pen*il and *l'ie h;is a dri:wrr imago croattld in frr"'rii of
one. For exanrpie , f] yo/crr.lon sits in a olo.:ring witlr a bteast
rev,:raieci at iorhiclr ;l clt!l* suokfes i:rrid s\ffinOs; ab*ve, a
crcw il':reatens hor lreald wilh lts beak. lvhile arriund it svriri
oth.:r lrcro;-like cre*tirres. Tliis is n*rrative painiin,g ancJ
b*cause it is stark it rs +ffert;,ie 'Theatr* cf ',iirar'shclv-* iii
the r.r;rp*r regixter il srlries o{ bcots thai seem tc he lvaikirrgl
over the i.;pturrreti fa*es artcl br;dios o{ the .ot-.pliiaco bolc'.ry.
Thcre is n* ccmpromist'r here , i*r r.rainting has bsrr--:n:e al
instr*n':ent ci vvar againsl irrjusttre ani crur:,lt";.
expf
Dave Phlflips
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lan Bamford : Picasso
Picassc was colnr.is$icned in 1930 i:ly Anri:rc,tr: Vollard tr-:
ustr ate thel Coniie ds B iiffcr':'ri classic-: eig hteerrih-ce ntr-r ry
Freirch mesterpiece. tne Hisioire Naturelle. As cne of ihe
$an ffiarmfcrd: Wonh't$6&-75.
Art Gal[er-y and fuIu$euffi, Cevsntry.
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This exhibitir.;ir
ii
ct len Banfcrd'g work incjucled
a series cf
,Jraivings, several priirts.
phctograph;
::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 $lack Painti*-cx
i-if ihe lal;: 50s. Hov"re,rrr. ur:like Siella, i:tany oi
l3an'ifcrd's iv,:rks are r-:r-'riitled and even ',vi-ren titles
were pre-qeni they appeared io irave nc sai;ial cr
pclitical rf;ieroncurs.
Ean:fcrd's preoccl:pation with illr.;sioir arrc ami:igt";it:", ;r ronr'rient througf:cut his rrycrk, The play ci
iJark and iight is cctiiinr"rall5,' subvr:rted ii:", ccrritradicnory clues. Expectaticns are ccnioundtc arid
rieliberelely rot resolved. thereby cre.:iing .r ielrsion that perliSr accor.trrte.J l'or lhe fascination tila1
iiis v.'ork exerts. Joseph /rlbeis's St'.:d17 t-if Glass
Consiructi;:r: - Cabtes. Graph:c Tect<;r;ics. ar:cl
Siil:ctu rai Constella tio ns ii.ier* li kely inf uenc*s.
f
r*eaiihiesi and ihe nioet impniiani afi Ceaiers anc publishers \,/rllarc +;as alls to iinance iuxurir firie-art publlratlcns
oi orii;!nal r:rinis b5r the rnajor arlists cf tit-. c;rV ancl also
en:plo--v the iiilest prinlers. sirch as fisrqir'$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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ry
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Tl-:e ap:tly iiile+ Chaneiecn .Sories r-:i ict:r' t-rlliliue
sci-t}e ?-r 5: ri rtis uvr: ro on g nr a.rtic g ecm t'ltri c- bir serj io rfi s
witir sirorrg ,;cir:trasts aticl s*htle lonaf gr,:dai:ons.
Tl':e mrr,L-:hanical c-:nar;rcier cf ihe ;lrirrting ntocess
iisiancec ii:ese prints frotl :.lre direct prsl-cst:af t:'larkinal'lir':g oi Banifori's drawiri,qs ;:rtd getre lhsft"i a
cnsp bear"iiy riot sseli elsevvtiete Firially, e .series oi'
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elr;hi phc"rc*o :'a pils contit: u ec h is preoccupa tiori irriih
reciilinear si-rapes, circ!es anij cvals iei;.c; sliapesl.
Each v.",ias about 6 ctrZ ari,l, iike tlie [iny ,-:cil;:rressed
*e!i-i:<;rtrait thilt peei'ed oul r-ri his *nlv etched '.sork,
Ll';r:u i'lt eiri. these photcg r,:i ilhs leeiled very ij is ient,
.: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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F$cassc : i-{istCIire f{atureil*"
Art Sallery arid ffiusealm, S*v*r'ltny"
Hov.r in'ipr:riant iL v'ras to see ilie or!ginai i-rrilit as
egainst a reproductiori. ln lilis exhibitirttr ihert +:ere
th:rly-<;rie irnaqes of er:irnats. birds arid :rrsects. full
of vitality, cnaracter and irun.:cui, inaginatii>n and
acr:te okiservatioit. They iip;'lrktecl with lile.
lan Ean":$ard
I
Pat Shenstone : Francis Bacon
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Fat Shemstmne. ; Fai*rtings:
Gatl*ny ffiesta{rrant,
*cventny.
fuTiElsy's
ffian*sdCIn,
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
B&
*losecl arid with arnrs cliisireichsd, {*els her
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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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,Page'12
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\$ihen lor:l<iitg at Go-Divi': out tc [-unch i v','tts
rrrmir'icied cf Dvlan Thcm*.g' fantous vitlar:{ille, 'Dr;
nol Uo genile into thai gcr:d nigl'it.. .. Ragei. rage
agarnst ihe Cying of the ii.qhl', Sh+nstone tages
against the sccial ntessuras ll,:at wou[c pigeorthole ivornerr iir sterecitypical toles and lin:il Intlir
aspirations anci capeciiy to achieve Tne forr:e cf
lrer feelings is n':airifesi it"r tlte nrairner in whi*h she
paints, wiih cften vioient diagonal brusl-r sirokes
an* vivid colours. Sut these painlng;s. althoug;h
seen fror'r a lr.rmai* persgreciive. dei:l with issues
that are univsrsal: ageing, los*. i+ar, lcn*lin*ss,
armbilior-r, are corrrrrort ic hotit se;{es
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 $panish ixaslof's
styte but he ni:ped ihe ien'rtrro in a lt-rvel where ihe sul-rject was
positively assaulit-rc hy tlre paint. Hven i,vhere the handling
more calm anti coltscted. the undertoire cf rlioit,rnce,
cf fiesh kreing no m*re tiran n:eat, was re,",er iar frcm ihe
suriace. This i;cukl +;<p[ain his hesiiaiicn at ihe prcspect of
\^1'as
print. The re s a d*grr'ie r.ri calculation irr
the procluction nf fiti-rcgraprhs anc iiqi.raiints that wcuiC have
suiie,:i nt*itlrer his lenrptlri:n":ent nor his ier:hrriqr.ie. Bac+n
rn'as the archeiypal fast-li..iing, harrJ-iirinking arti*t. Among
f-iis cther idiosvncrasie$ 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-<n't
turning all this into
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.
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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 $ira's absiract landsoapes are nlore
cienrancing cn the iipeciaior bui they leck the +hallenge cf
her eariier images c{ the hurnari L;oriy
#avid Tn*ught*m r Faintlng*, White Rcom
F{.Ml.Graphics, Regent St, Learningten
Rcad-ritovie irnag;ery atso features iir Davict Troughlcn's
shau; at lhe White Room. '.#e're in Arnerica al a tirr:e
wiien tiiere weren'l iliry Bushes, just big bcurrcy cars a*c
liugle irucks. The rear,riew mirror o{ one ci these provides
Ti-oughiori wilh his best subject as the rel'lecleci landscape
spiits
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'Ambassadors'.
scraps
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l-
authoritS,. From some positiorrs tl-:e cnmputer's
hanriiwork lrr'as spookilir removed and the
criginal shape resicred like the skull in Hclbein's
suriaces. These
(e
k
J
It was site-specific drauring told habits die hard) hut
it stamped itsellf i:n tlre gallery i.vails with inky black
Th* ass*ciaiion vlias reinfcrced by her hal.rit
cf 'weav!ng' [rer n'iarks int,: *arefuily prepareci
.*
t
The criginal drawings lor Elemernis bt-*long tc an
inrpressive sei of large glass etchings fcr a ouiblio
conc$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$sC Bank, The
ani spliriiers.
The irnaqes are prirrte.J on c&r'!vas usinq liqr";ii light
ler-rhnolog5;. The finish is not as sr-:phisticated as it can
be using il'iis technique. The paintinqs seern to lack
scmething; as a resuil The seleciirre use of cciour can
also seeir arlsiirary blrt ii" '#orks betler in 'Ca{4 anc Gas'.
Where lhe paint is rrodulaled ii: represent clcr-r*s. ihe
formal oonlrasts break dowr:.
There ara beiler exan:ples of this lype cf handling in ilre
ciher sliow aitd sifice ii's in a bank. rrou rrig;ht en"lerrqe all
l.he richer fr:r lhe experienr-:e.
Parade, l-ean:ington Spe
Pet*r blcCarlh)i
Galteries don't laok ihe u/ily thei.' tic by chance.
A white cube is stifl the best place fcr shov;ing
ari ilr.li that rjcesn't nr*an it's th* besi plar:e far
encountering
it.
You don't sucdenly ccnte across
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Lesley Daniels John Myers
Permanent Collection
the colours seems tc make tlrem squawk in prr:test at tfieir
[-es!*y ffianleHs :
Library Ga$*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
]-irere -q
fi
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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'age 14
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.
I
I
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
LSA Membership Form
I wish to become a Member of LSA
Amount.........
ru1me.
nlaleifemale
Address........
Teiephone....
Received......
e-mai1...........
Si9ned..........
Posicode......
I am enclosing an amount of f .....to cover my subscription (t10.00 /
Signed..........
Please send to : Grace Newman. Membership Secretary,
20 Culworth Place Leamington Spa CV31 3DH
secretary use only )
t5.00 Cons)
Terry Atkinson : Mark Tilley
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Tenny AtkfrE?som I 4 $eries tS74
'1S92 Fxhibiticcl at the Fu*rp Rcoms,
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Learmimg€on $pa.
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The r,vcrk on slroiv has fcur asp*cis ;lncl goes lrack
as far as 1974. The ryxc,:rl!ent *irsignecl inircd*ctic*
irr lhe *ati:icgue n':ake s it clear thai Atkinscn lred i.ln
a*istic history sver: belore lhen. He lnras one of ihe
mast*rrrinis behind 'Atl & l..angu*ge'in '1S68 having en'ierged fr+nr ihe acaclsn'iic context o{'the SlaCe
Scirocl cf Art. is aspiratirns tcs;e rds inlell#ctilelisr:r led eventually to the Cisscluticn cf ihe art object
intc a phiioso;rhir-:al wcrtrj unrlerpinned by I'Jlarxist
aelstfietics (r\dorno ancl Fischer anlcnlj r:thers), anci
the use cf v";orcs sr-ich as 'ont<:lcgy' and 'hermeneu-
ek
&
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h
of the surface or the mark-making but rather on the pcliticirf signi{icance of wlrat yoi-; vieu.r This is political art with
a rnessag€ of intensity clefivere{t by,r an engry n:ail rrvhc has
soniehc'w been rheated ar:cj sees ',he iryarld er; shadows full
of duplir":il1l. Tl^iis e rt has ccnvicticn. it he,s a ffessaLce. lt sets
out t,: wake .'/oi; Lrp frcn"l vour duli *rccei:tance. This is the
very stufi ci pri:itesi ani wheir ciinfi<;*ted b.,, qonfrcnlaliori.
a':l in tlre per$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.
tics'.
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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
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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 <iroppec ihe first
alom bon:b as a i-nflre speck in the sky on fragrnenls
of see miirgly i:rohen bliard qs,7-*;'e'J with v";arm r;lowing rciours. l"lcw could tlri-s sp*ck ',."'r€ak such
havccl' Wake rip viev,.,er, fcr this speck that ycu
are inclinec to !gnore is a p*ten:ial wei:pon cf mass
cl*slructicn This electrifying tltcught makes us
scrutinise the fitttEl dccclle with extr*me r.;are. i{o'ru'
clevgr, for les*q bt--ccrnes nrore. and we ourselves
are implicated. lt is as if lr* has sei paranoie in
rnction. He has beset our consciousnegs $;iLh worid
events that tlrreaten us. No longer the ccmfaf,able
bourgecis ivorld where '/oil accept the diclurls cf
aulhr:ri{y withcuI qLresiiLru. Tiie u;orld is a si*ister
place, anri. as in 'Historysiraps' the srniling faces ci
the yoi-rn._.: shoulcl nci be laken at face vafue. for lurhir:g in the backgiound and tven iir the rvay they are
repre*ent*i theie is th* 't,rvil oi m€lnkind ;iirrci.
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Dav* Phillig:s
Mar$q T$Bi*y : $cutrpf,ur*
L[brary Galleny, Unfversity
*f Warwi*k
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
or
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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imag+-nraking antl its impi:ct <joes not resi on the i:e*tlretics
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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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Page 17
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<jitt iell into the icjeas generaied camp and her
'Shci 3ir,J', nrace up cf lead shoi and resin caught
the essence of thi:t fatality and irr a se nse arll r.:thers
cf that nailire. li rvas a testimony :o the cruelt.v cf ',lrat
spori, ior ihe 'birc!' ',ras positionec in such .: wa-v thal
the full poignancy of the actiorr was caugl'':i. Set on a
white ftoor, wiih iight streaming thrcugh ihe vrindoivs
arid the rocnr suf{used vvith heat. the senselessness
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<ll tco bttt this tii'ne all shades
u;as all bcund
".rith
oi'grey, aesthetically considereci by stibtleties of pattern, its legs ,:n netal siilts scre',ved into tlre ficor
represerrting ihe wcrk ethic This work caused orre
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+<l a referenco tc fanrilv life vrher* recycling took 7:lace aol cnly of n'iaterials brrt cf tirec olci sayings.
As a speciacle ii was cciourful but it had ihe charactei. r:f
clissciution. of tln:e past, laden wiilr impiications of ihe frayeC
neiure r:f famil'y li{e, far from harnrorrious The rnessage here
\ryas ilrore imrnediately discernable and ta ihat exteni ry:ore
pov.,,erful. Both these artists ar* searchirrg for ways o{ rl:aking ari ihai has scciai ar':cl cuiiural dirnensicns. Ecth ,,.;crli
iliith tlre leqacy of fd Keinlroltz '.*hose asseniblages \^/ere
meaningful fora,/s inio the sociai struciuras of ihe sixtles as
theirs is ol tlre first rieoade of ifiis oentury. Hvery presenteci
a series cf paintings whose narraiive theme appeared ic be
that o{ lovers. They hacl large heads and eyes and srrall fiail
like bodies and the transftxation cf il':e eyes made tlie irnages
charged emoticnall,y. Thc; handling of paini shcvrs a sophistication with an accuracy cf representation unCerrninec by
the discrepancy of scale so that pathcs anci vulnerabilliy
is e.",ident. lrelpei by the distressec frames. Her work has
an openness and ciosure with an abilit'y !o look out giving a
Janis aspect to lhe r.ucrk. This painter has ccrr:petence afld
an ability to e,"'oke F $eoret stcrv o{ bonciing.'The Dance', a
larger ivork, is differerri, for ihere are suggestions cf a Fagan
ritual, rnrlrere three figures iianoe cut in ihe o;ren, in an altogeiher darker tonaliiy. The innocence of dance *r the elernal
triangle with sombrr*. rncr{:} foreboding ovedones. Fvery has
carried lrer l<norvingness rrn into .qlazed bcxes hung cn io
the wali which contains shoes. ln 'Secret Shoe,q'one shce
that is lar:y and s',ylish !s contexiualised by collages of word
anci image that conjure up a hidcien life and fantasies. ln
the other 'Garcening Shoes', twc slioes are i:e.iecked by
rnulti-cok:ured paintecl l'loiryers rather than ryrucj whioh have
ccnsiderable charm as pointirrg t<l the delights rather than
the iabour cf _cartlerring. These are aitogether siron_c works
thal are alluring and intriguing produced by a strong artistic
per$oFa
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 <jifierences r:f err:phasis v.rhether
il Lie cf coliiu: or t*xiure or shape. Ttie wcirk rict !'org;*ttinc "'i"he ilicui'e'iir inklrr;ash thst has an attractive
rriiatiti", is a privaie expressicir of a process $;here iha
critical raind ha-" passed or;er io ihe creati,;e
Thr* last artist iid daie hrir work*. give cinren*ions
ancl nrete*"cls A leeflnt wouid heve been appreci-
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
$tuart
tlre Pecple.
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tuliiHsey's 'T*:e GaiEery',
#ar*sd*n, **ventry.
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This exl'iibition of te* v'/orKs or so presenis us i.vith
.,,iews oi lan$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$is aitc broken
iiri* reiaiecj ihe mappings cf n:occl, breaking the
cr:lcur aroas into discrete pfissages. The i:cfcc,ir is
v.riih blues, blacks anci
activated in *nus*al
"^rays
grrjeils leading tc dissolrafice.
lrt scne '#crks il'rere
is an an:bi,qr:ity so that Lhe ouiside ssems like an ins!de as
if great gusts were blowing through es in Turner's 'Peiwcrlh
Hcuse' ueries. Yet lhis is a maturirig of Ellis's pevious ivork
anc i:ii{ers considerabte coherence, givi*g an cverilil unity
air<j a irolistic experien*c.
Th* TaffitaHus Prmj**t: 'Fiprk'
Lanc$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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:age 19
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<lc i:linds ancl louvered rraindor.,s. lt
:'ery:incJs one of Eliot's lir:es: 'l have seeri eyes irr the sl.reet.
Trvirrc to peer through lighted shuiiers' and 'And the light
crept up betweer: the shlrtlers, And yor"r lreard ihe Ep&ffo\i1rs
in the guiters'. Yes. s+ simple and yet so catcfiing cf tlre nrurrart-"rij ther crdinary w[rich is nrost of life, spiced r^.riih a little
mystary. Andy \tviileit's hutge laser print on sr:aterial ocnjures
up scmc soli of strange science liciicn irnage i'vhere supernsvas c!'sun spcts dispcri thernselves li is iarge and warnr
cJi:ne
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
a
Scarf is
perhap,s
a
mos?
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<I as tf-ris r:rne does with an h*nesty aircJ
vinuos!t5.' Altlrough if i\iorian i.r portrayecl essentiall5.' she
remains a girl k:nging fcr answers to impossihle cuesticns.
Carcl tAlheekir has slrcyvn inr:prints and cerarnics playing on
the r:ottcrrs cf posiiive and negatir.:e -qhapes tc create lantlccapes An int*lligent grasp of in:age. rnaking the process of
figurailon fron'r the abs:ract io the repres*.nieiionel tantalisin.q. fcr she retains enough rioi to mahe thern ioo retresentatii-ina! aiihor-rgtr she cails then: b.v the narne cf the place',he1t
re pre*teni.'St .And rews 1 & l l' anci' Porthsv.vidrjerr'. Tlrey" ha.re
a sopf-risiicaiicn aird kno'uvinqness cf air ;lrtist who will noi
be di'.'eried frcn.: the task nrrti l^;ifl travel lar tc regions ci her
choice. Lasily v,;e *ome tc 'Site Spr.rcific' by Kerry Warcl thai
has proviced a pink surfi:ce r,vith sterrcillod r,vorcis th;lt play
on the very rn;crc! 'pink'which she leave*q out li is an arrasting work for yvards such 'Salmon', 'Ror':!<'. 'Vtiool'.'Chintz ',
'Ribbon', and rnany oihers indicate that the wcrd 'pink'has
far reaching associations.
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
f
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:<hibitlon, and inost people whc i:re
involr,,ed in ;irt muclr prefer it thai way, unless, r:f cr:urse.
there !s an art historical rsason fcr a group exhibitlon. BLrt
this is an enjoitable shovr, and cne v";hiclr vvas vveil preseni*c,
aiihotlgh one could have done u.,ith scme 'up to cate'literature cn tlie artists end even a catalcgue.
Dave Phillips
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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** <jerive,-i frl:i'n acrzerti*irrq. ln 19$1 the l\lp:habet
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#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$, So tl'iis exhibitirfi
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an anibitlcus one or-r
fiic-inierwiikshiie and it
stLrdent
her behall'. it *onrbiiles l*rge paintings witli small*r
cnes, figi-;rati,re v;ith ehstracl anc the 'r"'hcte lvcrlc is
irer carivas e s she a',lernpts to respond tc ell cf life iri
visue I iernrs lt is the lri![c ab;rndcri ci latting ell fiow
{rcnr an emoiicnal ro[t--r c+aster ot'a life ihaL cree ies
tlie apr:eal Rav; undisi;iplined ernotion in tlie f+rn'i cf
r:aint is *qcrayeil befor* olrr e:/?s an* the en*.rg-v is
complusir"re vielvlng as vte seek pirrrire*qe cn ryisailing. fimma Henril is a yoL;ng afiisi ai the cuisei of
Irer career end she ie ai that L-oint cf experirnentaliorr
ifi tsrnrs cf her f*elirtgs, thci-rghts ancl technirlues
ise{cts sire deiern:ines ir: wllicrh diretiion sh* rr.ril!
eventually gc. Thi-e qixl'iibi',i*n is lherefcre a sort cf
exoiic apedtii sGlisfyifiC in its+lf alid i*e n'tfiV hs,,'s ls
',1'ail a '"vhiie {oi ihe n'iairr rn*el.
Dave Fhiltips
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fr cn"ls'ct u n
ity Art
Ge I Heny
This exhibiii+n is fun arid the inrages iltal are pres€nied sfic\tu a kncwing harid anC an ingenious.
inrreniive, cliricug nrin,i. Yei ii is ait, ii e**en'ls dcne
'on' a conrDu:er t"rut e Cisiincticn musi lie rnadei tllat
ii is nol done 'i;1,' ifie conrou:er Sehinci lhe seemir:gly throv'r ain;a,v in:.:g*s iireL ere produceg to amuse
;l'rildren there wcul* s+e$: 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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Page 20
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<j bathiccni lnrage. whiclr h*tj b*en {irst shavin in lris
Se.;en Rocnrs exhibiticir in 1l*,cS. The same then--.te was
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
i
N,4
t'lrr: rrhirc
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