Posts Tagged ‘Turps Banana’
Turps Banana, Issue Twelve is out!
In the early eighties Donald A. Schon, in his book The Reflective Practitioner, brought attention to the gap “between the kinds of knowledge honoured in academia and the kinds of competence valued in professional practice” and proposed an epistemology of practice he called reflection-in-action.
Turps Banana Issue Twelve opens with a brief editorial in which Marcus Harvey and Peter Ashton Jones quote from Issue Nine, where Gavin Lockheart asks Peter Doig about his approach to teaching and Doig suggests that rather than teaching anyone anything we have conversations and discussions. I think what’s implied is that learning somehow takes place in what we might call reflective dialogue. It’s not teaching (not in the traditional sense anyway) but there is learning, or at least the potential for learning to take place. The editorial creates a frame for viewing Turps Twelve as being about the relationship between painting and learning. It occurs to me that painting is a particularly good site for reflection-in-action, a discipline in which thinking and doing are re-united (it could be argued that in a technological society the two are separated, and to such an extent as to become highly problematical).
So I find the theme of learning cropping up in one way or another in each of the conversations, articles and discussions.
Bernard Cohen in conversation with David Leeson, learns from paintings in the Flemish room at the National Gallery, as well as from meetings with Barnett Newman, from the danger and purity in European painting, from the paintings and writings of Paul Klee, from Kenneth Martin saying “It doesn’t matter what you paint so long as you build something”, from Rudi Wittkower at the Slade, from Pueblo pottery, Albert Camus and the Myth of Sisyphus. Then there’s a short article by Cohen on Leonard Applebee about his influence on Cohen both as a teacher and as a painter, and how the two practices of teaching and painting are interconnected.
Lucy Stein and Alasdair Gray talk about the paintings of Carole Gibbons and again the subject of learning comes up, this time from peers, specifically Alan Fletcher, whilst at Glasgow School of Art, saying something to me about the relationship between influence, learning and teaching: “nobody he influenced became his imitators. He helped us teach ourselves”
Mali Morris interviews Geoffrey Rigden where we learn about the influence of jazz, the teaching of Hans Hofmann, what it means to be contemporary (what a great question, by the way), the influence of Noland and Louis in the early days as well as Milton Avery and Albert Marquet, also other less well known figures at the time like Adolf Gottlieb, for Rigden “still more pertinent and engaging than Pollock”. It’s like I am eavesdropping on a conversation by two painters and as a result learning about the paintings, about influence and about learning itself. Later as I reflect on what I read, I join the dialogue, in my imagination. ( That’s a study of my own that I would like to do: on the influence or otherwise of ‘internal dialogue’ in the painting process.)
Continuing the learning theme there’s a couple of pages about the Turps Art School taking applications for the studio programme September 2013 – August 2014 and the correspondence course October 2013 – September 2014.
Nancy Cogswell visits the National Gallery of Art (NGA) in Washington USA to talk with painting conservators there, and we get part-one of the interview, which ends on the nearest thing I can imagine to a cliff hanger for this type of serial, getting into some really interesting territory, asking just the questions I’d want to ask like “are there certain paintings you prefer to work on?” “Does Moholy-Nagy use masking tape to get the sharp edges on ZII ?” “How much room for manoeuvre does an individual conservator have?” “Do you think of yourselves as painters?” and “What kind of problems do you have with the colour field painters?” The interview ends with a consideration of how you learn to do something (like clean a Morris Louis) when there is no accepted way of doing it and how you gain empirical knowledge over twenty five years, surely a metaphor for painting.
Whilst the acquiring of empirical knowledge is still fresh in my mind I turn the page to find that Joan Key is writing on The Empiric or Picturesque in the work of Amikam Toren. and whilst I think it likely that connections between articles may be accidental she seems to elaborate on the visual/intellectual processes of observation interpretation and judgment that were present ‘beneath the surface’ in other articles and started to become explicit in Nancy Cogswell’s interview.
One of the things I like in each of the Turps Banana volumes is the way the varied conversations interconnect, almost like they are themselves conversing with each other, so that it is this process of conversation, reported and imagined, that pleasurable learning takes place for the reader, and thinking of pleasure, the pictures are great!
( You can subscribe online at www.turpsbanana.com )
This upcoming exhibition looks interesting. I am planning a visit or two.
TURPS BANANA 12 JULY – 17 AUGUST 2012
Vigo Gallery 22 OLD BOND STREET LONDON W1S 4PY
An exhibition to raise funds for the TURPS ART SCHOOL opening in September.
In September 2012, Turps Banana, the painting magazine written exclusively by painters, will open the doors of its new art school based in Bermondsey. The one-year course aims to provide an intense mentoring structure for committed painters and, as well as a back to basics approach, Turps will have the support and involvement of some of the most illustrious painters who have worked with the magazine during the publication of 11 issues.
Although all of the artists have donated works to help to support the magazine and the development of the art school, this exhibition has been carefully considered to reflect that which is current, significant and critical in contemporary painting, including abstract works by Thomas Nozkowski, Mali Morris and Phil Allen, and painters who have championed a figurative approach such as Chantal Joffe, Neal Tait and Dinos Chapman. The show will change with new works being added during the course of the exhibition.
PETER ASHTON JONES
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.
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.
The Lion and Lamb is itself a double vision: a bar and gallery, what a great idea! (in my earlier post I said it was in Shoreditch but actually the postal address puts it in Hoxton).
The Lion and Lamb is a unique opportunity for painters to curate painting shows: perhaps visual essays or a kind of platform where artists can examine current practices in painting, take works from their usual contexts and experiment with new juxtapositions.
‘Double Vision’ is the title of the current exhibition, curated by Katrina Blannin and showing until 14 July 2012.
It alludes to “notions of double layering in painting, whether material, compositional or theoretical”. It explores binary oppositions like figure/ground, surface/depth, symmetry/asymmetry and chance/system, oppositions that are, in a sense, combined or held together, which in language might be oxymoronic but in painting seems perfectly natural. I wonder if we might even say that holding together opposites and exploiting ambiguities in relation to them is what abstract painting does best. Although it is a very long time since I read Harold Osborne, I feel sure that one of his arguments was that quality in painting is largely to do with exploiting spatial ambiguity.
Maybe because I was looking for the Mali Morris painting it was the first thing I saw as I entered the gallery (with a pint of beer in hand). Like many of her recent paintings it is modest in size, but it seems less obviously to do with colour as the paintings she recently showed at Oriel Mostyn Gallery, until you get up close that is, which is quite difficult for me because it is high up and I am only just 5′ 6″ tall.
In my memory, but not in this snapshot so now I am wondering how much of my recollection is constructed, colour shines through the multiple layers of ground, and maybe through ‘figure’ too. Was the swirling white ‘ground’ added last, so that the figure is negatively constructed from what might previously have been the ground? That’s the sense I have. Also I think that the black is a layering of colours rather than black paint, though I could be wrong about that. I liked the way the show was hung, but I also wanted something to stand on so I could get a closer look at this one ( I should have asked). Even without entirely getting to answer my “how was it made?” questions the painting starts to work on me. I become fascinated by the layering, the information that seems both hidden and revealed, and by the “figure”, is it one or three? that seems to hover above a vortex, creating an optical space that is in one reading quite deep, and in another entirely flat.
Having recently read Katrina Blannin’s interview with Jeffrey Steele in Turps Banana (Issue 11), where there was also a little reproduction of her painting Pink, I was keen to see some of her work “in the flesh” and the painting here, a diptych, was a delight. The “systems” connection is clear, and she seems to share with Steele a commitment to painstaking execution of the work. It is beautifully done, and double in more than one way (doubly double): it is physically two paintings joined, and one is mirrored in the other along the central diagonal, with the tones and colours reversed. Like the Morris there is spatial ambiguity: the lighter ‘figures’ in one viewing (it shifts) combine to form a ground which I start to interpret as space, almost as sky, as if I am looking up from an enclosed space (with buildings) and some strange thing, an alien vessel perhaps, is descending. Then it shifts again and I know for sure that this illusionistic referential reading is just that, one reading, that I would have to work hard to maintain. What interests me is that my eye/brain seems to want to make sense of it in this way, until the object before me seems to insist that I change my mind.
The Gallery information sheet had the lowest two rows of information missing so I don’t know the title of this particular double vision.
Likewise with the John McLean painting:
another small piece, higher in colour than many here, with black, which features quite a lot in this show. It is years since I saw a John McLean painting in real life (I have been looking at some reproductions recently in a very good book), and seeing this one reminded me that I have half arranged to go and see the one in the collection at the Whitworth. I met him once, when I was an art student and he came to see my work. I remember being mildly embarrassed by his enthusiasm for it, my friend dubbed it “an unqualified rave” McLean exclaiming over and over “this is f***ing ambitious work”. Looking back, I wish I had allowed that feedback from an artist I admire to become more productive in terms of self-confidence, which I lacked in those days. This painting is self-confident, seeming to assert the modernist tradition in abstraction, almost because it is out of fashion.
The other artists in this exhibition, and I will post another time about some of their work, are: Chris Baker / Dominic Beattie / Isha Bøhling / Ian Bottle / Alice Browne / Simon Callery / Keith Coventry / Natalie Dower / Tom Hackney / Jumpei Kinoshita / Hannah Knox / Sarah McNulty / Neil Mendock / Jost Münster / Selma Parlour / Geoff Rigden / Dan Roach / Danny Rolph / David Ryan / Estelle Thompson / Julian Wakelin.
It’s all good stuff, each work individually, and the exhibition as a whole-different-then-the-sum-of-its-parts, that I hope I get to see again before it closes on 14 July.
Dan Coombs has suggested that the abstract paintings of Tomma Abts are better understood “not so much as material objects in the abstract painting tradition but as surrogate people with their own personalities. Each painting is a portrait …of something that does not yet exist“. Seeing the Tomma Abts painting at The Indiscipline of painting exhibition at the Mead Gallery, I was reminded of Coombs’ article. The painting is entitled Thiale, a first name I believe. The format looks like a portrait as does its size (48cm x 38cm).
It draws us in for closer inspection, I mean for us to inspect the painting, not the other way around, though who knows, maybe whilst I am studying it, it is also studying me? And studying is the mode of viewing that it seems to elicit. Some of the other paintings in the show need to be simply enjoyed, breathed in almost, but not this one; it seems to require close attention or study. And studying it slowly reveals the slowness of its making as evidence of corrections and underpainting becomes apparent.
It isn’t the only ‘portrait’ here. There is also the much larger scale work by Moira Dyer entitled The Vanishing Self-Portrait. There is underpainting of sorts in this one, but hardly in the sense of ‘corrections’. In the Tomma Abts I get the sense of painstaking application and revision, until the ‘correct’ form is arrived at. The Moira Dyer seems more about following a pre-determined course, and quickly. Painted in 1990, only two years before she died at the age of 34, it is balanced on a small tree trunk, rather than hanging on the wall. I could imagine it having been painted right there, the lateral brush strokes in a pale blue/grey with a slightly bluer frame painted around the edge with one blue paint run on the left hand side, that has been allowed to follow its course almost to the bottom edge. The paint looks like it was erased rather than applied, the erasing of an image of the artist perhaps, yet the brush strokes and the dimensions attesting to the artists presence, and body. She was here, and this ‘image’ is what is left of her performance, the record of it hasn’t vanished.
And in looking at these abstract portraits I am reminded of the Clare Woods exhibition at Hepworth Wakefield: The Unquiet Head, showing until 29 January. As well as the large abstract landscapes, which themselves allude to figures in rock formations, there are some smaller works of rocks that are specifically presented as portraits, a series of Idol heads. And then there is a small painting on aluminium entitled Hollow Face, a portrait ‘read into’ the negative space, a hole, or a clearing, in a hedge or some shrubs.
This also vanishes, if ever it was there, or only there because we see the absence as a presence and see in that a face. The painting is already there in ‘nature’ but always only inside the imagination, a portrait of something that is both there and not there at the same time, a visual metaphor perhaps. The Moira Dryer portrait is of an event, a performance that once took place, now a nominalisation, whereas the Abts portrait is of a ‘personality’ that exists only because it has been painted into existence.
The Unquiet Head is showing at Hepworth Wakefield until 29 January 2012
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.
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.
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.