Exhibitions and Museums

Jason Martin, Lisson Gallery

Tuesday 22nd November 2016

Martin’s huge aluminium canvases are thickly layered with oil paint resulting in them still being wet when viewed in exhibition. This is an unusual way to view a painting, appearing almost still a work in progress. The works appear simultaneously spontaneous yet precisely executed, due to the grooves and crevices created by his handmade brushes. Martin’s work is dense and heavy, the thickly applied oil paint creating a three dimensional image. In the press release I received at his recent exhibition at Lisson Gallery, London, his investigation into painting is discussed. Paint is the motive for his work, exploring the physical qualities and way he can manipulate it.

Abstract Expressionism, The Royal Academy of Arts

Tuesday 22nd November 2016

At the Royal Academy of Arts I visited the Abstract Expressionism exhibition. I was recommended this by my tutor as this movement is a key influence for my practice. The exhibition was a collaboration between Clifford Still, Jackson Pollock, Willem de Kooning, Mark Rothko, Barnett Newman, Franz Kline, among many others. I had viewed most of the artists' work online at some point before, but seeing it in person was completely different. The scale of the work had such an impact on myself as the viewer, and the depth and richness of colour was heightened. You were able to see the detail of each mark that was made by the artist, which you can't get on general images online. Viewing these pieces of extrordinary art inspired me to work bigger and bolder and has given me so many ideas. 

Tate Modern, In the Studio
Tuesday 22nd November 2016

http://www.tate.org.uk/visit/tate-modern/display/in-the-studio

Richter:

Rothko:

I visited Tate Modern for the first time in a few years, my favourite exhibition was In the Studio, it was a collection of works by artists such as Richter, Rothko and Ryman. These are all artists that I am interested in and are related to my practice. I had already seen Rothko's work at the RA, but for me the most amazng was Gerhard Richter. I had never seen his work in person before, but had done a vast amount of research through books and online. I was not ready to experience the scale and beauty of his work. I felt almost starstruck. Each detail of the piece was extraordinary and when stood back the pieces were overwhelming. This has made me want to work much bigger. I have tried the squeegee Richter-esque technique before, however did not find it worked for me, however visiting this exhibition and seeing the work in real life has made me appreciate the marks more, so I might give it another go and see if I can master it.

Caroline Achaintre, BALTIC Centre for Contemporary Art
Friday 14th October 2016

Mix of colour, form and expression

Work on paper and with ceramic and textiles

Process-based, embracing materials and surface

Pacci [2015]

Befor [2013]

Achaintre's Paintings

Some figurative, some abstract. In more recent works she incorporates mediums such as latex, wax and bleach.

Quack [2016]

Process of making her ceramics is quick and spontaneous. Gather the clay into some sort of expression then fire and glaze.

This piece in particular resembling a crocodile skin.

Her idea of masks and carnivals are reflected in her bold colours and patterns.

Lord Lard [2016]

'painting with wool' uses a tufting gun to shoot wool through canvas (a technique she learnt in a textile module, however is a rug making technique from the 70's). The rugs resemble beings/masks. Expressive and bold. The idea of a rug is not unfamiliar to us but seeing it hung on a wall, forming a mask-like figure, creates a sense of eeriness and comfort/discomfort. From a distance and on camera the pieces particularly resemble expressionist paintings.

I love how each piece holds a different expression. Some happy, some sad, each one is unique and I am drawn to these pieces of art for their weirdly relate-able qualities.

Conceptual Art in Britain:
Friday 26th August 2016

Tate Britain Permanent Show:

Bridget Riley, Hesitate [1964]

Use of optical effects to change the experience of the viewer. Almost has a physical impact.

John Hoyland, 28. 5. 66 [1966]

Exploring colours and shapes. Way a change in colour can alter mood.

David Hockney, A Bigger Splash [1967]

Sandra Blow, Green and White [1969]

Acrylic, Ash and Charcoal on canvas

Bridget Riley, Late Morning [1967-8]

rhythms and pattern

Interested in the effects of the warm and cold tones on white

Gillian Ayres, Break-off [1961]

early career: poured paint directly onto the canvas

this work is where she began to use a brush - more order and structure

 

patterns, mark making

Richard Smith, Piano [1963]

started with abstract paintings inspired by de Kooning

then inspired by packaging of cigarettes, in this piece the shape representing the box packaging and the tightly packed circles resembling the tightly arrayed cigarettes. Links to popular culture and visual language.

Patrick Caulfield, After Lunch [1975]

alternative ways of picturing the world. Contrasts cartoon like imagery with realism. Ambiguous and uneasy

Stephen Partridge, Monitor [1974]

early defining works of the possibilities of art. Exploration of process.

Prunella Clough, Wire and Demolition [1982]

Cornelia Parker, Pornographic Drawings [1966]

 

Shirazeh Houshiary, Veil [1999]

Cathy Wilkes, Untitled (Possil, At Last) [2013]

Andrew Lord, biting [1996-8]

Vicken Parsons, Untitled [2005-12]

Howard Hodgkin, Porlock [2012]

You weren't allowed to take photo's in the exhibition but these were my notes:

National Portrait Gallery:

Sam Taylor-Johnson, David [2004]

BP:

Portraiture used to be my favourite practice, however over the course of my degree I have swayed away from this and to a more abstract way of working. I think I used to like the way it could be right/wrong, anyone can appreciate a good painting, you know whether they're a good painter by how much it resembles a face. With abstract art there is no right or wrong, only interpretation, but this is something I have come to enjoy. Despite not creating my own portraiture anymore, I thought it would be interesting to see what they had on at the moment.