Archives for category: Miscellaneous
Mutie #1, 2015

Mutie #1, 2015 C Type Print

December’s Print of the Month is now available to buy here.

Mutie #1, is one of my earliest attempts to use improvised brushstrokes in a digital image. I began by painting in acrylic on paper, which was scanned into Photoshop and edited. The photographic elements come from street shots I took in London in 2015. I’ve chosen now to put the print on sale because I’m currently re-exploring this way of working.

 

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Part three of a conversation about Jasper Johns with David Cook

London Eyeball

key 50 Jasper Johns: ‘Fools House’ (1961-2)

A couple of months ago Richard Guest and I visited the Jasper Johns exhibition ‘Something Resembling Truth’ at the Royal Academy in London. Then we exchanged emails about it, and this is the result.
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Richard:
Those are great quotations; I think he’s being honest, and they explain the work’s strength and its durability – the paintings have no fixed meaning and Johns never sought to impose one. I like the idea that the artist paints, writes, draws, records etc in the way they are able, because they have to (get something out there).

Yes, I think the key to the work’s appeal is its sensual quality – the images are seductive, in part because of their texture, because the hand of the artist is visible. And the tension between the concept and Johns’ intuitive delivery…

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The second part of a conversation with David Cook about Jasper Johns…

London Eyeball

key 233 Jasper Johns  ‘Flag’ (1958)

A couple of months ago Richard Guest and I visited the Jasper Johns exhibition ‘Something Resembling Truth’ at the Royal Academy in London. Then we exchanged emails about it, and this is the result. 
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Richard:
I think the subjects are very specifically chosen – they have deep roots in the Western psyche – a target is for shooting at, so we think about the implications of that image; numbers underpin our lives and shadow our activities in all sorts of ways (data, economics etc), maps and flags signal ownership of land. These objects are all so much a part of everyday existence for so many people that they are taken for granted, but they hold fundamental meaning – road signs, logos, labels are ephemeral by comparison. So, I wonder whether Johns used the maps, flags, numbers…

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David Cook and I have been to another show. Please click through to read more…

London Eyeball

 

key 10 Jasper Johns: ‘Target‘, 1961

A couple of months ago Richard Guest and I visited the Jasper Johns exhibition ‘Something Resembling Truth’ at the Royal Academy in London. Then we exchanged emails about it, and this is the result.
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David:
When we arranged to visit this show, I confess that I was doing it out of a sense of duty rather than because I thought I would enjoy it. It was a show that I thought I ought to see: a definitive survey of a major artist. Johns is an iconic presence in the art of the last hundred years; but I thought his work was a bit dry, a bit ‘correct’ and he was not necessarily among my favorites. I certainly didn’t have that sense of rock star excitement I had when I was going to see Jackson Pollock, Picasso or Kiefer. I…

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…Time flies…David Bradley was brilliant as William Hartnell (in 2013! See below), and he’s back as the first Doctor in the 2017 Doctor Who Xmas special…This one’s for Richard Cooper-Knight…

The Future Is Papier Mâché

Street Portrait (for and of David Bradley) #1, 2013

Today, I went out with the express intention of shooting some portraits. There was a chill in the air, so most people were bundled up in scarves, hats, thick coats. So, all but invisible; I was just giving up hope of taking any shots at all when I spotted a very dapper gentleman crossing the street. I tailed him for a bit and then asked him if I could take his portrait. It was only when I asked his name that I realised who he was.

Street Portrait (for and of David Bradley) #2, 2013

You might know David Bradley as Argus Filch from the Harry Potter films (2001-11), or as Walder Frey in Game of Thrones (2011 and 2013), or perhaps King Lear at the Royal National Theatre (1991) for which he was awarded the Laurence Olivier Award. The list…

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Part three of my recent chat with David Cook. Click through to read…

London Eyeball

nullSchool IV -Barracuda under Skipjack Tuna, 1978

Part Three of my conversation with Richard Guest about Michael Andrews.

Read part one here & part two here!

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David: There were a number of large underwater paintings of fish swimming in the upstairs galleries. I was wondering how they fit into this…fish are potentially a banal subject. Obviously there is the parallel of floating, and a kind of luminosity to the surface and again the ambiguous relationship to photography. What do you make of them?

Richard: The fish paintings really do look like nothing so much as pretty paintings of fish. I’ve been staring at the painting above for a while and I’m getting nothing else from it. It’s very relaxing – like a fish tank. I feel distanced from the subject matter and it holds little to no meaning for me in art…

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Part two of my recent chat with David Cook…please click below…

London Eyeball

Lights VII – A Shadow, 1974

Part Two of my conversation with Richard Guest about Michael Andrews. Part One here.

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David: One thing Michael Andrews does not do is clearly set out his intention. I don’t think he has a program which is one of the reasons he appeals to me. The fusion of contemporary imagery (often through photographs), with a painterly surface and traditional, directly observed drawing further masks his thought process.

The Lights series is not really a series in a strict sense, but it is linked by the balloon viewpoints. This sensation of floating above things clearly appealed to him – of apprehending a very wide and distant view with nothing in the way and having a god-like clarity.  Lights VII seems to have the composition and handling of a Rothko, and the palette and light of a Corot. Abstract Expressionism…

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David Cook and I have been to another show. Please click through to read more…

London Eyeball

Andrews, Michael, 1928-1995; The Cathedral, The Southern Faces/Uluru (Ayers Rock)The Cathedral, The Southern Faces/Uluru (Ayers Rock), 1987

Earlier in the year, I visited the Michael Andrews show at the Gagosian Gallery in London with Richard Guest. We spent the next couple of months exchanging thoughts about the show. Definitely one of our toughest assignments: here are the results!

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David: I first came across Michael Andrews’ through his Ayers Rock paintings in the mid 1980s, some of which are in this show. I didn’t know quite what to make of them, but I was intrigued and have always tried to see his work when I get the chance – not that often. This is a really great show covering his entire career – an amazing show for a private gallery to mount. It’s clearly a sign that, twenty years after his death, his reputation is at last reaching the level it deserves. For too long he has been…

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Untitled, 2016– Untitled, 2016 –

Just a quick post to say TFIPM is taking a break.

Not sure when I’ll be back but, in the meantime, Ashley Lily Scarlett and I are having a conversation in pictures called Between Scarlett and Guest. Please check it out.

David Cook and I recently discussed a Mark Wallinger exhibition. You can read the first post here.

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2nd part of David Cook and I talking about Mark Wallinger’s ID exhibition. Click through to read more…

London Eyeball

On May 1st, Richard Guest & I visited Mark Wallinger’s show  ID  at Hauser & Wirth London W1. Afterwards, we discussed the show by email. The following is the result of several weeks’ electronic toing and froing. Here is Part Two – you can read Part One here.

My accidental version of Shadow Walker in Lisson Grove – the twins in the camo trousers I was surreptitiously trying to photograph cropped off at the head! My accidental version of Shadow Walker in Lisson Grove – the twins in the camo trousers I was surreptitiously trying to photograph cropped off at the head!

David: Ever Since and Shadow Walker left me pretty cold I have to say, but there are a couple of things that make me scratch my head. Shadow Walker is on a screen resting on the floor, leaning against the wall. It was shot on a phone of some sort I think, it is very poor quality footage anyway, and it’s vertical). Ever Since is the reverse – very high quality and projected directly…

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