Street Portrait (for and of Joe), 2016– Street Portrait (for and of Joe), 2016 –

This was an early morning (for me) shot. Joe was waiting for a store to open. He was fantastically stylish and great about me taking a few shots. This is the first and is my favourite. Thanks very much, Joe! Hope you like your picture.

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Ashley Lily Scarlett and I are engaged in a conversation in pictures and it’s called Between Scarlett and Guest. Check it out.

A little while ago, David Cook and I had a conversation about Michael Craig-Martin. The first part can be read here.

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Street Portrait (for and of Blackie), 2016– Street Portrait (for and of Blackie), 2016 –

Blackie was just coming out of Charing Cross station when I spotted him. I really liked his style and he was great about me taking a few shots. This is the second and is my favourite. Thanks very much, Blackie! Hope you like your picture.

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Ashley Lily Scarlett and I are engaged in a conversation in pictures and it’s called Between Scarlett and Guest. Check it out.

A little while ago, David Cook and I had a conversation about Michael Craig-Martin. The first part can be read here.

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Alice and Caner, 2016– Alice and Caner, 2016 –

Alice and Caner were in a large group of people on Great Queen Street, and fully engrossed in a conversation. Sensing a brief lull, I lunged in and asked them for a few shots. They were lovely about it. This is the first shot I took and is my favourite. Thanks very much, Alice and Caner! Hope you like your picture.

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It’s been over two years since I last posted a double portrait – I have no idea why – must take some more…anyway, the one before this was this one: https://thefutureispapiermache.wordpress.com/2014/03/20/double-street-portrait-19/.

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Ashley Lily Scarlett and I are engaged in a conversation in pictures and it’s called Between Scarlett and Guest. Check it out.

A little while ago, David Cook and I had a conversation about Michael Craig-Martin. The first part can be read here.

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Street Portrait (for and of Patti Smith), 2016– Street Portrait (for and of Patti Smith), 2016 –

OK, so I did a double-take when I saw Patti Smith walking towards me. I mean, it’s not every day you see a music legend. Patti was lovely about me taking a few shots. She chose the location and laughed when my hands shook and my fingers couldn’t find the right camera buttons.  This is the first shot and is my favourite. Thanks very much, Patti! Hope you like your picture.

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Ashley Lily Scarlett and I are engaged in a conversation in pictures and it’s called Between Scarlett and Guest. Check it out.

A little while ago, David Cook and I had a conversation about Michael Craig-Martin. The first part can be read here.

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Street Portrait (for and of Nolan), 2016– Street Portrait (for and of Nolan), 2016 –

Hello! About a month ago, I spotted Nolan just off Seven Dials in Covent Garden, London, UK. I loved his look and he was great about me taking a few shots of him. This is the first and is my favourite. Thanks very much, Nolan! Hope you like your picture.

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Just a quick note to say, from now on, TFIPM will post weekly on a Sunday.

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In the meantime…

Ashley Lily Scarlett and I are engaged in a conversation in pictures and it’s called Between Scarlett and Guest. Check it out.

A little while ago, David Cook and I had a conversation about Joseph Cornell. The first part can be read here.

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No Title, 2016– No Title, 2016 –

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Hello all, I’m taking an enforced break from TFIPM for up to a month, while I resolve some technical issues (my laptop’s sick).

In the meantime, why not visit Between Scarlett and Guest, my collaborative blog with Ashley Lily Scarlett – it’s a conversation in pictures. Or read what David Cook and I thought of the latest Michael Craig-Martin exhibition

See you all soon.

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1st March 2016 (Sketch)– 1st March, 2016 (Sketch), 2016 –

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David Cook and I just discussed a Michael Craig-Martin exhibition. You can read the first post here.

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Ashley Lily Scarlett and I have started a new blog together. It’s a conversation in pictures and it’s called Between Scarlett and Guest.

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Street Portrait (for and of Sara), 2015– Street Portrait (for and of Sara), 2015 –

The moment I saw Sara, I knew I wanted to photograph her. I loved her style and she had a fantastic smile. Fortunately for me, she was also great about me taking a few shots. This was the first and is my favourite. Thanks very much, Sara! Hope you like your picture.

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Ashley Lily Scarlett and I are engaged in a conversation in pictures and it’s called Between Scarlett and Guest. Check it out.

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Street Portrait (for and of Christian), 2016– Street Portrait (for and of Christian), 2015 –

I came down with the flu a fortnight ago and just as I was leaving London for home, I ran into Christian. I loved his sense of style and he was great about me taking his portrait. Thanks very much, Christian! Hope you like your picture.

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Ashley Lily Scarlett and I are engaged in a conversation in pictures and it’s called Between Scarlett and Guest. Check it out.

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5th January 2016, David Cook and I visited Michael Craig-Martin: Transience at the Serpentine Gallery in London. Afterwards, we discussed the show by email. The following is the result of several weeks’ electronic toing and froing. Here’s the third and final part…

Richard: Ha, just about. The comparison with the Rothko room is interesting. To me, where the Rothko room has an under-lit chapel-like atmosphere, MCM’s rooms at the Serpentine are in-your-face oppressive, like being trapped in a car showroom with an over-energetic salesman. Not so much of the transcendence. And I think that’s part of the point. MCM makes you engage with the work and the objects he depicts by force. These are aggressively ugly colour combinations – they’re pugnacious.

It’s interesting that some of the objects depicted have fallen out of use or had their design overhauled. Here we have Cassette, 2002. By 2002 cassettes had pretty much been superceded by CDs, DVDs and digital files as storage devices. To anyone born after 1997 this is probably a pretty obscure object. Is his intention to memorialise it? If so, why?

Michael Craig-Martin; Cassette, 2002; Acrylic on canvas; © Michael-Craig Martin; Courtesy of Gagosian Gallery

Michael Craig-Martin; Cassette, 2002; Acrylic on canvas; © Michael-Craig Martin; Courtesy of Gagosian Gallery

David: In a way it mocks the transience of these ubiquitous but ephemeral things. There is a memento mori quality to the cassette. It is doomed, already in the past: a repository of information that soon will degrade or no-one will have the equipment to read. All the objects are depicted through the same style prism – memorialised if you like – but not respectfully. They are robbed of everything but form. It is as if Craig-Martin is saying to designers: ‘my art will endure…but your products won’t.’  He is saying to Jonathan Ive “You might be selling 100 million iPods a year, but in a while they will be junk. But my paintings will be the same, and they will still be valuable, they will function as well as the day they were made.”

The bottom line is that we have allowed our consumer objects to supplant us at the centre of our art. Not only does the earth go around the sun but art no longer revolves around us either, but around our obsolcesent consumer durables.

The whole aspect of the show is sardonic. And to me, dripping with Warhol influences. I sometimes doubt the greatness of Warhol, but his influence is right here on the wall in the wall paper, in the acceptance of the everyday as a subject and behind the scenes in the creation of art celebrity which MCM has vicariously dabbled in at Goldsmiths. Warhol – who had made a lot of the running in including vernacular objects in ‘higher’ forms of art clearly was behind the initial choice of subjects and the mechanical look. But these are still very much hand made works: the artist in him was too strong. The distributed and reproduced element does not feel integral in the way it does with Warhol’s work. The dissemination of prints and internet works feels very much more like the reproduction of traditional 2d forms than Warhol’s mechanised and hands-off methodology. We get a very self denying art that almost can’t bear to be looked at: you couldn’t look at any painting here for as long as a Rembrandt or a Cézanne. It is not comfortable with itself in the same way. Its chosen idiom fights with the subject matter. This creates an arresting tension, but it is an uncomfortable one.

Warhol installation view by David Cook

Michael Craig-Martin: Transience, installation view by David Cook

Michael Craig-Martin: Transience, installation view by David Cook

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Ashley Lily Scarlett and I have started a new blog together. It’s a conversation in pictures and it’s called Between Scarlett and Guest

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