patternsthatconnect

abstract art, a systems view

Posts Tagged ‘Peter Dickinson

Turps Banana Issue 11

with 17 comments

I love it when that Turps Banana hits my door mat. I know that I am in for a treat of looking at good reproductions of interesting paintings, reading thought-provoking articles and interviews and then pondering on it all for ages afterwards. Sorry, if I am sounding like an advert. I just can’t help being a big fan.

turps banana 11

It says it on the cover, so I won’t tell you that it is Turps Banana, issue 11.

In issue 11 there are two interviews, or conversations, that I am particularly enjoying, with two very different abstract painters: Katharina Grosse and Jeffrey Steele, the interviewers being Peter Dickinson and Katrina Blannin respectively. Dickinson opens with a statement about abstraction, which leads to a discussion about different definitions, Grosse saying ” I am not an abstract painter any more” where abstraction is understood to be “abstracting from or generating a residue of something seen”. Dickinson proposes a contemporary definition, where it is “the process of thinking and action” the resultant product being a record of that process. Clearly, the paintings/installations of Katarina Grosse come into this category, and so do the paintings of Jeffrey Steele, though the products of these two artists seem poles apart. There is something at least apparently subjective and random in the Grosse paintings in contrast to the mathematical and systems orientation of the Steele paintings, and Blannin does a great job of teasing out the origins, rationale and methods of his approach.

Neither interview is “easy” and both provoke as many questions as they answer (in a twitter exchange with painter Dean Melbourne on the morning we opened our copies of the Turps we acknowledged that our initial response was to feel a bit thick) which I think is what a good journal is meant to do.

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Written by Andy Parkinson

July 9, 2012 at 9:41 am

Sean Scully, contemplation and time

with 4 comments

If I have a favourite artist it is Sean Scully. I remember once visiting Tate Modern with a friend, and in the time it took him to see everything in there I had viewed only the three Scullys that were on show. I was literally mesmerised by them. For me, the type of naturally occurring trance state, or reverie, that Franz Anton Mesmer (re)discovered is just the kind of experience provoked by many of Scully’s paintings. Whilst in some ways all aesthetic experience comes into the category of naturally occurring trance, (or if you prefer ‘flow’ state), the work by Sean Scully seems particularly to put me there.

In Issue Ten of Turps Banana, Scully, talking to Peter Dickinson about the bad reception abstract art gets in the UK, says that looking at abstract art “requires contemplation and time”

Sean Scully, Soft Ending, 1969, Acrylic on canvas (226.1 x 226.1 cm). Courtesy of the artist

You could imagine that a gallery might be a good place to find time for contemplation. .. unless it is such a gigantic space that walking past the art becomes the norm.

Sean Scully, Moon, being walked by at Centre Pompidou, Paris in 2008, my photo

Surely he is right about abstraction, it does require contemplation and time, and isn’t it also the case that it rewards the time and contemplation given to it. That is certainly my experience with Scully’s paintings, even the early, minimalist-leaning work.

In Turps Banana, the interview is supplemented by some excellent reproductions, all of early work. I have come to like the more recent Wall of Light series (like the one in my photograph above, taken at Centre Pompidou) so much that I had forgotten how powerful some of the early works are. Soft Ending 1969, for example, seems to have an opticality that is understated or resisted in the later work. The development of Scully’s oeuvre could be read as an increasing emphasis on the physicality and objecthood of painting. Of course that physicality includes the optical much as it could also be seen as a container for the spiritual. Scully talks a lot about the spiritual in art, but I don’t remember him defining what he means by it. What he says in Turps Banana about contemplation and time possibly hints at a way of viewing that approaches spirituality in the sense of meditation.

The new issue of Turps Banana also includes interviews with, or articles about painters such as, Tomma Abts, Christopher P. Wood, Che Lovelace, Gavin Lockheart, René Daniëls and Rose Wylie.

Check out this post at Abstraction Blog with some good photos of three new Scully paintings at his current show at Kerlin Gallery, Dublin, and a link to itunes where you can download Turps Banana.