Kerry James Marshall: History of painting

Kerry James Marshall, Stuart Bush Studio Blog
Kerry James Marshall, Untitled (Underpainting), 2018 courtesy of the David Zwirner Gallery
Kerry James Marshall, the American artist, is increasingly being recognised as a significant painter and modern master.  His work confronts questions about what is represented in art and more importantly what has been left out.  In this review of Kerry James Marshall: History of Painting at David Zwirner’s gallery in London, I want to look at the way Marshall uses in-depth knowledge and understanding of art history to inform his work and inspire a new generation of artists.  
 
Kerry James Marshall was born in Birmingham, Alabama and grew up in Los Angles.  He currently lives in Chicago.  At the beginning of Marshall’s journey to becoming a successful artist, he started, like most students by learning to copy.  He studied a wide range of art from the great masters from European history to abstract expressionism and pop art and all the essential work in-between.  As a result of Marshall devouring and truly penetrating what had gone on before, he developed a broad theoretical understanding and technical skills.
 

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A review of Sarah Sze's exhibition at Victoria Miro Gallery, London
When it came to choosing his style Marshall had an informed understanding.  He decided to work with a deeply felt, intense narrative style that he learnt from grand European history paintings. Marshall felt this style of picture making is familiar to many people and would be the best way for him to help derive meaning from our lives.  
Kerry James Marshall, Stuart Bush Studio Blog
Kerry James Marshall, Untitled (Large Colours) (2018) ©Kerry James Marshall, Courtesy of the artist and David Zwirner
The painting titled, ‘Untitled (Underpainting)’ 2018 highlights how Marshall has learnt to evaluate art. It is a painting of African Americans children enjoying and learning about art in a museum.  It references many great works like Samuel Morse’s, ‘Gallery of the Louvre’ (1831-3). A painting where rich, white people are enjoying a rich visual field of pictures in a gallery.  The African Americans figures in the picture are having a great time, enjoying looking at grand paintings made by American Africans.  The narrative blatantly challenges how the identity of African Americans are displayed. 
 

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A review of All too human, Bacon, Freud and century of painting life
Kerry James Marshall said, “When most people go to a big museum like the Louvre, it reaffirms their idea of what real art is supposed to look like. And if you keep going to the Louvre and Tate Britain and you don’t see black people in those pictures, then you don’t think black people belong in these kinds of pictures… People need to start thinking that these pictures belong in those places, too.”
 
Portrait painting is often intertwined with character, wealth and status. In Marshall’s portrait paintings we see the world with fresh eyes. In ‘Day and Night’ 2018, he asks us to stop and consider our oversimplified misconceptions.  Marshall’s paintings, ask the viewer to look into the eyes of African Americans, to reconsider the opinions, stories and stereotypes they have been given. To re-evaluate what is valuable, neglected and demeaned.
 
‘Untitled (Large Colours)’ 2018, is a competent abstract painting that deals with the language of painting where discovery and execution happen simultaneously.  It discusses the emotional impact and essence of art.
 

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Tomma Abts Serpentine Exhibition
 
Marshall’s auction series of works is about the commercial value of art.  It is based on the prices of art at auction. Marshall is understandably asking questions about the importance of art considering he recently sold a painting for £15.6 million at auction.
 
Kerry James Marshall, Stuart Bush Studio Blog
Kerry James Marshall History of Painting (May 16 2007), 2018 courtesy of The David Zwirner Gallery
This month Marshall has been named the most influential contemporary artist in the 17th edition of the ArtReview Power 100.   This shows that he has become an inspirational figure to a new generation of artists. Marshall leads the way encouraging them to believe they too can be successful and have their work in these critical artistic establishments.  
 
His approach of starting at the beginning and learning everything of importance has been instrumental in Kerry James Marshall’s success.  With the simple goal of wanting to make the best painting he could, Marshall followed the proven track of many artists. Marshall paints as a form of activism to promote, challenge and ask questions about how people from his background are portrayed.  Now with his painting is institutions around the world, he steps forward as an inspirational artist trying to rebalance the objectivity of art intuitions.  Marshall leads the way to change the way art and art establishment conducts its view of the world. 

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A review of Sean Scully's work

A section of ourselves as a commodified object

Stuart Bush Studio Blog, A section of ourselves as a commodified object, A section of ourselves as a commodified object
©Stuart Bush, A section of ourselves as a commodified object, oil on aluminium panel, 80 x 120cm
To achieve a successful painting like, ‘A section of ourselves as a commodified object’, I want to understand what it is I am really trying to make. I have a deep need to be creative and communicate something significant about what I see. I love painting, my ambition is to make the best painting I can make. For me, a transformative experience takes place at the level of the ordinary.  
 
When evaluating a picture, it is interesting to consider that the essences of the surface is a pattern of colours, lines, texture, forms and space.  Shape and form fit into the frame, as the structure of the painting creates a visual complexity.  I find a dynamic placement satisfying and enticing as it encourages eyes to follow a predetermined direction.  
 

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What it takes to paint something original
By turning figurative forms into a flat plane, I hope to make a visually engaging and attention holding painting.  I am also creating a comment about how the abstract figure in the history of art is turned into a sign or symbol for market value.  In effect, I recycle, reuse and take advantage of our human form and individuality for the commercialisation of the self and of our human identity. 
 
My focus isn’t on financial gain.  However, an artist, like everyone else, needs to make a living. I like the idea of art for art’s sake but a painting whether you like it or not turns into a commodity. As an artist, I live off what I make and of the form of others in my work.  
 

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Michael Landy's Artange project 'Breakdown'

I cannibalise the individual form into an image for commercial value. The commercialisation of the self and human identity de-humanises us. This is the reason why I paint a section of ourselves as a commodified object.

Compared to the various others ways to make a living this seems an honest and honourable one.  I am not saying there is anything wrong with making a living from art or any other form of making a living.  By trying to make the best painting I can, I wanted to look at this most fundamental part of the art.  Looking at the deal that follows.  The legacy of the history of art is its commercialisation.
 
I don’t have to sell my work, but there isn’t much point in making it unless other people see it. By getting to grips with all this, I hope to make the best painting I can make.
 

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I wish I could paint everyday

A painters approach to street photography – Stuart Bush Studio Blog

©Stuart Bush, untitled photograph, A painters approach to street photography
©Stuart Bush, untitled photograph, A painters approach to street photography
I found the question of where to start as an artist after art school an easy one. I had a desire to capture something about now; the present moment in the city.  My camera seemed an obvious place to start. I picked up my camera and took pictures.  Cartier Bresson labelled it the “the decisive moment.”  I wanted to capture a split second of an ever-changing mad rush.  By doing so, I found a way to make art; I discovered a painters approach to street photography. 
 
My walk with a camera started with no intention of where I was going; not in my steps and not in my art.  Each time I went out with my camera, I spent more time reflecting on the photographs I took. Looking for a breadcrumb to follow.
 
Out of the hundreds of photographs, I knew there was a way forward. My own unique way forward. I know I was interested in something significant, but it was impossible to put it into words.  I was interested in elements of form, of architecture and individuals, and formal qualities of a composition.  Over time this vision developed into a kind of transcendence. A nowness of this specific point in time. Of my time and our time.
 

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The influential work of Francis Bacon lead me to become a painter
My camera works an extension of me, I use it as a tool to capture my artistic vision.  I am looking for the right something. When the right individual with the right background, in the right composition, comes together in the frame.  I hope to capture an emotion and feeling of being there. To add a sense of place.
©Stuart Bush, untitled, street photography, A painters approach to street photography
©Stuart Bush, untitled photograph, A painters approach to street photography
When I am out taking photographs is not essential for me to me to communicate with the people I am photographing.  I try to be invisible, I don’t draw attention to myself.  I very rarely use a direct likeness of the individuals in my paintings, only sometimes in my drawings.  If I was ever asked what I was doing which I never have, I don’t think people would understand. How can I explain I am capturing the randomness of life. This quest to me feels unique.  
 

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Street photography.com
I paint what I photograph rather than exhibit the photographs.  The are many reasons why.  I have become less interested in narratives and less interested in the details of the image. I want to abstract something out of those moments. To strip away the visual noise, to look for something beneath, where people and the city emerge in a meaningful and surprising way.  At the end of the day, we all see and notice these fleeting moments.  I am trying to ask what does it say? What does it all mean?
 
A fated poise, a combination of colour, texture and cut of the clothes translates into our culture. Street photography can become quite obsessive. It takes dedication to capture that moment. That purely visual moment.  It is gone so quickly there is hardly any time to capture it.  I see it all being about chance. An accidental chance.  In that accident, it says something about being here on this rock in this moment of time, that I don’t think can be said in any other way.
 
dsc03814
 

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How I see art contributing to society
 

The influential work of Francis Bacon – Stuart Bush Studio Blog

Stuart Bush Studio Blog, Hopes and Fears, The influential work of Francis Bacon lead me to become a painter
©2016 Stuart Bush, Hopes and Fears, (2007) oil on canvas 150 x 85 cm
When I was starting out as an artist, I was having trouble with feelings about the purpose of our human existence. I related to Karl Marx talking about the problems of consumerism and the alienation of labour. Marx stated that if you are cut off from the fruits of your work, then you are cut off from your creativity, and you lose your sense of self. This introspection on existentialism and the influential work of Francis Bacon lead me to become a painter as a creative outlet for my thoughts.
 
I realised I was happiest when I was making something.  It needed to be something for me that doesn’t have the main aim of making money.  I feel that this is one of the main problems with the western consumeristic society. People often lose connection with their output. They complete a task just to make money, just to survive. I believe the goal of making money causes psychological problems with our individual purpose and happiness.
 

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How I see art contributing to society
During the process of making art, I feel the artwork becomes an extension of me. I get closer to my deeper self.  Through painting, my purpose stretches out before me. I realised no one else can make another painting precisely the same. No-one else has my thoughts. This powerful idea that I am unique and I can communicate what I feel really resonates with my heart.
Stuart Bush Studio Blog, Francis Bacon, Figure at the base of crucifixion, The influential work of Francis Bacon lead me to become a painter
©Francis Bacon, Figures at the base of crucifixion 1944, 1 panel part of a triptych
After learning about Francis Bacon at art school, and seeing Bacon’s work at several exhibitions in London, including his major retrospective at the Tate in 2008, I saw the way forward. I immediately related to his work and understood it.  As Bacon puts it, “art is about trying to make something out of the chaos of existence.”
 
To enable me to communicate my feeling of angst and estrangement with the world, I realised I could paint the figure in the city. Since I grew up in the country, I found the city fascinating and it is where I felt increasingly heighten feelings of alienation.
 

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Tate interactive tour of 2008 Francis Bacon exhibition
 
I was in a trance by the power of Bacon’s large canvases. Bacon depicted the complexity and chaos that was going on around me and inside me.  His paintings focused on the invisible forces that underlie me. I strongly relate to the feelings of angst and disorientation.  
 
Stuart Bush Studio Blog, The Kingdom, The influential work of Francis Bacon lead me to become a painter
©Stuart Bush, The Kingdom, oil on canvas 150 x 85 cm
I realised Bacon wasn’t only interested in directly painting a representation of life. He wanted to heighten the viewer’s feelings. His paintings were created by using raw instinct and chance.  Often there is a single figure in Bacon’s paintings, the individual that creates a tremendous force that twists, contorts and stretches out.  Bacon’s striking depictions stirred my emotions with the immediacy, and with the deep and lasting impact of his art.
 
I deeply related to Bacon’s paintings and felt painting was the perfect way I could communicate my thoughts.  What I like about Bacon’s approach is that he is not trying to understand the human condition, Bacon realises he cannot.  If he could explain it, there would be no reason to paint it.  Bacon was instead trying to get you to feel what he feels.  He portrays a figure, not as an educated, cultured, pillar of the community but instead as nothing but a raw piece of meat. It is direct, honest and compelling.  Francis Bacon explains it eloquently, “the job of the artist is always to deepen the mystery.”  Francis Bacon had a tremendous impact on me.  Inspiring me to follow in his footsteps and to become a painter.
 

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The inspiral work of Egon Schiele - Stuart Bush Studio Blog

What it takes to paint something original

paint something original
©Stuart Bush, Strange Heart Sings, oil on board 30 x 40 cm
When I started out on my journey, like most art students, my ultimate goal was to communicate what I see.  I was inspired by other artist’s work. As a consequence, I wanted to make my own significant contribution to culture. When everything has been done before, to have any chance of achieving this goal, I realised it’s important to understand how to paint something original and unique. In this post, I discuss what I have uncovered on my artistic journey.
 
In the book Outliers, Malcolm Gladwell explains his thoughts about his ‘10,000-hour-rule’ as, “the magic number of greatness.”  Gladwell’s idea is that originality only comes after spending 10,000 hours mastering a subject.  This rule makes a lot of sense to me. It is helpful as a guide to appreciating what it takes to paint something original.
Stuart Bush Studio, No bodies fault, I wish I could paint every day
©Stuart Bush Nobodies fault detail,
I believe looking is the most essential part of being an artist, especially for a painter.  Only after looking can you begin to realise what has been overlooked and then you can start to recognise what is already valued. Plus after reading about and viewing a lot of accomplished art you can start to understand the importance of making great art, and that originality is subjective. As I became aware of what art critics and sophisticated people thought l started to develop my own ideas about what was successful or unsuccessful. 

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Jealously of other artist's work
This was the beginning of finding my own voice and my own unique visual ideas as an artist then an armed with a pencil, a blank sheet of paper and an open mind l can be transported to a place where ideas become instinctive, intuitive and spontaneous. 
 
I realise I am more likely to stumble across originality when I am making and taking risks. Accidents from unintended footprints, coffee cups rings, photocopiers, spills and other accidents all have their place. They happen when I least expect them and I learn as much from these apparent failures as I do from successes.  
©Stuart Bush, He has never been in love, he doesn’t even know what love is. Gouache on cartridge paper, 43 x 24 cm
 
Open creative sessions leave my thoughts uncovered and on display in their raw state and my ego is left aside. The energy and emotions in the preliminary drawings come from this outburst of freedom. They can be refined by repeating on another sheet. These ideas can be further explored and refined, but at that point, the conscious self comes back into the room.  The work from open-ended creation sessions can often be more prized than the problem solving finished work that follows. Getting this balance right is an essential part of painting something original.

External link; What it takes to paint something original

Is originality in art overrated? - Royal Academy of Art
 
After completing the preliminary studies l often don’t know the potential of the work. Often l store it away and revisit it at a later time.  This time away helps me to realise and appreciate its potential. I am always hoping to find an appropriate form that brings everything together in order to discover something fresh and insightful.  
Stuart Bush Studio, the rush
©Stuart Bush The rush 2016 oil on board 50 x 70 cm
Nevertheless, it is important to throw away what doesn’t work and quickly move on. This can be one of the biggest stumbling blocks for an artist.  New work can be a shadow or an echo of what the artist has seen or experienced before.  Selecting, editing and reworking is an essential process that leads to originality.  The artist’s studio is a place for demolition, revival and transformation.
 
Chuck Close, the New York painter, has this to say,  
“We often don’t know what we want to do, but we sure as hell know what we don’t want to do.  So the choice not to do something is often more important than the choice to do something.”  
I have discovered that a problem creation process is much more effective in finding exciting and original ideas than a problem-solving approach.
 

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I wish I could paint every day

A review of Sean Scully’s work by Stuart Bush

A review of Sean Scully’s work by Stuart Bush – ‘Uninsideout’ exhibition, BlainSouthern London until 17th November

Stuart Bush Studio Blog, Sean Scully review
Sean Scully, What Makes Us, 2017. ©Sean Scully Courtesy of the artist and BlainSouthern, Photo Peter Mallet
In a career spanning 6 decades, Sean Scully in 2018 has 10 solo shows around the world, including an exhibition of sculpture at the Yorkshire Sculpture Park until 6 January 2019.  During this review of Sean Scully’s work at ‘Uninsideout’ exhibition at BlainSouthern in London, I want to discuss Scully’s approach to the use form and colour and the intensity in his work.
 
The Irish born abstract painter Sean Scully grow up in London.  He later moved to New York where he established a studio.  Sean’s work explores a grid structure as a way to interpret the urban and natural landscape.  
Stuart Bush Studio Blog, Sean Scully
Sean Scully, Uninsideout, 2018, Installation view, ©Sean Scully, Courtesy of the artist and BlainSouthern, Photo Peter Mallet
Sean’s initial interest in art came from viewing Van Gogh ‘The Chair’ at the Tate every weekend for 6 weeks. The painting profoundly moved Sean. He admired how the painting was honest and direct. It lit a spark in Sean and lead to his early work.

Related blog posts – A review of Sean Scully’s work

Tommas Abts Serpentine exhibition
 
Sean approach to painting has a similar intensity to Van Gogh’s ’The Chair’. He responses to thoughts and emotions with genuine integrity. Sean’s grid structure enables him to capture the rough, falling down feeling of the city. The muted light and the geometry grid facilitates a way to capture the unique beauty of the subject.
Stuart Bush Studio Blog, Sean Scully review
Sean Scully, Uninsideout, 2018, Installation view, ©Sean Scully, Courtesy of the artist and BlainSouthern, Photo Peter Mallet
Sean Scully explaining his work, “I am paraphrasing nature, I am making the grid which is an intellectual framework, that we have invented, in order to order our cities.  I fill it up with information that is already in the world.  From the sky, the trees, the rivers and so on, all those sensual forms of information are gathered into the work to inform it, to enrich it, to bring it into the human spirit.”
In advance of the act of painting, Scully carefully works out the drawing of the grid and his palette of colours. This takes away many decisions while painting, and leaves space for a surprising amount of freedom in the making. Scully can focus on the noise, movement and pattern of the surface.
 

Related blog posts – A review of Sean Scully’s work

Understanding the 'Oak Tree' in conceptual art
The paintings are inspired by the cityscape with blocks and forms, or by horizontal lines forms a natural landscape opening up space for interpretation and mystery to the viewer.  Unlike conceptual art, where the intellectual idea is clean and has a resolution, Sean’s paintings are like open questions allowing the viewer’s mind to wander across its surface. This is because the thinking and doing are in-separatable, it causes the viewer to always fall short of understanding the artist’s direct experiences that inspired the art.  
Stuart Bush Studio Blog, Sean Scully review
Sean Scully, What Makes Us Too, 2017. ©Sean Scully Courtesy of the artist and BlainSouthern, Photo Peter Mallet
Scully has a sensitivity to colour.  His palette is inspired by the colours of nature and space around him. They are always finely calibrated colours, consistently hushed and sombre tones echoing the landscape. There is always a sense of the material in the work.
 
In the painting ‘What Makes Us Too’ (2017) he uses a brighter palette of colours.  This work inspires thoughts of the exuberance and rhythm of contemporary urban life, including sexuality, lipstick and power.  This series of work, as a result, is more decorative than his usual work.
 

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SeanScullyStudio.com
Scully has said he doesn’t like using unsophisticated bright or brash colours. He much prefers rich, refined tones. Colours that are not there to make an encounter happen.  The colours in Scully palette come with their own natural, highly developed meaning which is delicate and complex. They are less dominating and with subtle degrees of graduation.
Stuart Bush Studio Blog, Sean Scully
Sean Scully, Landline Near Blue, 2018, ©Sean Scully Courtesy of the artist and BlainSouthern, Photo Peter Mallet
I really enjoyed seeing the varied body of work in this exhibition at BlainSouthern.  Through focusing on the surface, Scully is able to reduce the decisions he has to make. This way of painting leaves space to focus on the two crucial aspects of his painting practice. The first is the intensity of the art.  Through having many of the decisions worked out in advance, Scully can concentrate on the distinct characterises.  The precise meaning is brought into existence by amplifying how powerful and intense the painting is.
 
The other important aspect of Scully’s paintings is about how two things come together through a visual intelligence.  As Scully explains, “This really is the human problem how we come together.  How do the things in the world come together.”  As Sean Scully says, “Abstract art really is like music without words.” Scully’s paintings allude and invoke the way we experience the landscape as a mental state rather than a conscious effort.
Stuart Bush Studio Blog, Sean Scully review
Sean Scully, Landline Near Blue, 2018, ©Sean Scully Courtesy of the artist and BlainSouthern, Photo Peter Mallet
 

Related blog posts – A review of Sean Scully’s work

Abstract Expressionism at the Royal Academy

Dyslexia isn’t going to stop me

Stuart Bush Studio Blog, Dyslexia isn't going to stop me, A section of ourselves as a commodified object
©Stuart Bush, A section of ourselves as a commodified object, oil on aluminium panel, 80 x 120cm
I avoided practising my reading and writing skills as I grew up. I easily slipped through the net due to changing schools several times. It took me a long time to read a book, however, I started to enjoy reading in my twenties. At 27 years old I was diagnosed with dyslexia. It took me a while to realise that dyslexia wasn’t going to stop me.
 
I didn’t enjoy writing before I had a blog. I always felt my writing was poor. The way I used to get my ideas down on paper was confused and in a jumble. In spite of that, I believed that my ideas and content were good. It used to take an enormous amount of hard work to take my ideas and make them into a finished piece of writing.
 
It is almost impossible to become an artist without being able to communicate clearly. I needed to not only to be able to write about my work but also talk about it. Hearing that there are lots of successful people with dyslexia encouraged me. I thought to myself, ‘It didn’t hold them back, so it isn’t going to hold me back! I need to face my fears”

External link – Dyslexia isn’t going to stop me

How Technology Helped Me Cheat Dyslexia
 
The only way I was going to improve was through practice. One of the main reasons l started writing my blog was for myself, for my own improvement. 
 
My purpose and the reasons why I write has developed over time. Now use my blog to explain and demystify how to establish a successful artistic practice. I give a raw unfiltered analysis, sharing what I find with others in order to help them develop a way forward with making art and becoming successful.  Through collaborating as artists, we can figure things out together. When you read, comment or purchase a work of mine you are collaborating with me on this journey.
 
In the beginning, writing this blog stuartbushstudioblog.com was like a type of therapy.  However, because of this journey, of facing what I fear, I now feel stronger as an artist. The best part is that I now enjoy writing!  I wonder if I have a book in me.

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The Benefits of Adversity

What is my motivation as an artist?

Stuart Bush Studio Blog, Inclination of form, What is my motivation to be an artist?
©Stuart Bush, Inclination of form, oil on canvas

My motivation as an artist has to do with my intense need to communicate something that only I can do or say. I have a meaning to fulfil through my work, and I am declaring that as an artist that I am responsible for finding answers.

Painting is the best way for me to communicate. I believe that painting and playing with form has the potential to capture the most important kinds of expression. I see it as a foundation for thinking itself and solving life’s complexities.
 
I’m interested in expressing the physical vigour of the human body in the city landscape as a means of exercising the freedom and dynamic expressions of space.  Through my work, I am confident I can widen and broaden the visual field, thereby revealing a whole new spectrum. 
 

Links – What is my motivation as an artist?

25 Reasons Why Being an Artist is the Best - JerryArtarama.com
The outcome of my work evokes a surprise and a revelation to me in much the same way as it does to the viewer.  The finished painting is never good enough.  In order to fill this gap, I have the motivated to make another piece of work.
 
Throughout my career, I have tested things out and applied my knowledge. What I learn I will share, from practical advice to techniques and any other information l think might be useful. I will be fighting in the trenches with you, explaining and demystify how an artist can support a creative life.
 

Understanding the ‘Oak Tree’ in conceptual art via Russian politics

Stuart Bush Studio Blog, Oak Tree, Conceptual art
©1973 Michael Craig Martin, An Oak Tree (1973) – All rights are reserved and are with the artist. 
 
Understanding the ‘Oak Tree’ in conceptual art via Russian politics
 
I have always had an intellectual curiosity about the principles and ideas behind conceptual art. In Michael Craig-Martin’s artwork, ‘Oak Tree’ (1973), I am interested in how he claims to transform a glass water into an ‘Oak Tree’?  How does the artist subvert people’s observations of the world?
 
I had fresh insight into understanding this artwork and mental concept after recently watching a film by Adam Curtis called, ‘How propaganda turned Russian politics into a circus.’ The documentary discusses and explains how Russian politics is using conceptual ideas from the art world to confuse people so that they are never sure what exactly is occurring.
 
Vladislav Surkov is an advisor to Vladimir Putin. Surkov was an aspiring artist who trained as a theatre director.  He has imported ideas from conceptual art into Russian politics and thereafter into Russian daily life.  

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What I see in the work of Jeff Koons
 
This came to the attention of the UK after the Friday 2 March 2018 Salisbury attack.  Two men from the Russia military intelligence service, the GRU, entered the UK from Russia.  Police believe that the two men travelled during the weekend to Salisbury.  It is alleged that while they were there they contaminated the front door of the home of Sergei and Yulia Skripal. Sergei Skripal is a former Russian agent who has defected to the west. Sergei and Yulia Skripal were found collapsed on a bench in Salisbury.  They had been poisoned with a chemical weapon called Novichok.   Later DS Nick Bailey also fell ill after going to their home.
 
In Curtis’s film, he explains that the Kremlin is very calculating. They intended to create a sense of confusion and falseness where no one is able to find the truth. This is similar to the way the artwork, ‘An Oak Tree’ attempts to create uncertainty.
 

Further reading on understanding conceptual art

Marcel Duchamp 'Fountain' (1917)
The initiator moves the truth, like in the Salisbury attack and in the artwork, to wherever they want.  In the ‘Oak Tree’, Craig-Martin tells the viewer the glass of water on a glass shelf is an Oak Tree. In the Salisbury attack, Russia completely denies they had any involvement in the poisoning. However, officials in the UK are confident that the two Russian suspects were involved.
 
‘Gaslighting’ is the next stage of the process. This is a form of intimidation and psychological abuse where the offender denies everything, leading the victim to doubt their own perception of events.  The offender then responses like a school bully, telling everyone they are imagining things and laughing at them.  Then he draws attention to something else in order to undermine them. In this case, the Russian foreign Minister tweeted a funny video of the UK Prime Minister dancing.  In the ‘Oak Tree’ Craig-Martin draws attention to the mental conception through the questions and answers.
 

Related posts; Understanding the ‘Oak Tree’ in conceptual art via Russian politics

A painting has to stand up by itself 
Last week the Russians released a film where the two suspects talk about their phoney interest in Salisbury’s history.  Their statement appears to come straight from Wikipedia. The Russians flatly deny any involvement. The outcome of this is that the UK officials to start to second guess their instincts. 
 
The whole Salisbury attack experience has given the UK and the world an insight into Russian daily life and the television they are allowed to view.  It shows to  Russian nationals who are thinking about defecting, that not only can the state find them anywhere in the world, but also that the state can leave traces back to Moscow.  If the state gets suspected or caught out they will then just laugh the problem away.
 

Related posts; Understanding the ‘Oak Tree’ in conceptual art via Russian politics

How I see art contributing to society
Just like in Monty Python and the Holy Grail where the French taunt the English outside their castle.  The Russian state is saying that we know that you know we did it and we have come up with this absurd response to further humiliate you.  
 
Michael Craig-Martin said about an ‘Oak Tree’, “I was trying to work out what was the essence of a work of art. I thought it had to do with suspension of disbelief. You get it in theatre – why not in art?”
 
The Salisbury attack is very similar to the ‘Oak Tree’ (1973) artwork but with much more humiliation and an affront to the viewer.
 

Related posts; Understanding the ‘Oak Tree’ in conceptual art via Russian politics

Michael Craig-Martin’s book, ‘On being an artist’ – book review

The art of being idle

The art of being idle, Stuart Bush Studio Blog, painting blog, inception of an unexpressed thought
@Stuart Bush The inception of an unexpressed thought part 2, coloured pencil on paper 22 x 29cm
Congratulations! You have just started reading a blog post that encourages you to be idle in order to improve your creative work.  So relax, put your feet up and read on to find out how being idle can be turned into the art of being idle.
 
Benjamin Franklin, one of the founding fathers of the United States of America said, “It is the working man who is a happy man. It is the idle man who is the miserable man.” This quote reflects a common misunderstanding about the benefits of being busy versus the benefits of being idle. It is important to clear this problem up for us creative people.  
 
I am not denying working hard is needed to be able to achieve success in all fields of work.  It clearly does take quite a lot of hard work to be successful in almost every domain. However, over time I have come to realise that a key part in becoming a successful artist is by not making yourself so busy that deep work becomes impossible.  

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Why being idle is good for you - The Telegraph
 
To resolve creative problems and break through with new ideas finding quality time in the studio is only part of a bigger picture.  Of course, if you’re not in the studio making new work regularly then you need to make some adjustments to your working week.  My main point here is that it is also it is important to have idle time in your week for reflection and contemplation.  If you haven’t already got this highly valuable time in your week it is advisable to make some adjustments too.
Stuart Bush Studio Blog, The art of being idle, an unexpressed thought, painters blog
©Stuart Bush The inception of an unexpressed thought part 4, coloured pencil on paper 22 x 29cm
The art of being idle explained
Creative ideas never come to me in a full and complete form. Often it feels like ideas are not moving forward and I often have to ponder on a problem to resolve a piece of work. A slow incubation of ideas forms in my subconscious.  Sometimes I try to resolve a problem through preparation drawings.  I might try sketching, using collage and playing with an open mind to help to move my ideas forward.  
 
At one time I use to sit and procrastinate but over time I have realised that when this happens I need to move on to something else and keep on working.  I don’t have time just to sit there waiting for an idea to resolve itself.
 
I have noticed my best ideas come when I am not directly thinking about the problem I am trying to resolve.  In effect my best ideas come when I am not busy but when l am idle.  I have discovered that creating a fine balance in my weekly schedule allows me time to be idle. 
 

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My subconscious works overtime during a good nights sleep. Then in the following days and weeks when I am carrying out a mundane activity: possibly in the shower, walking, driving or doing some household tasks when I’m not focusing on anything, in particular, my mind wanders, my focus starts to drift and I start day-dreaming.  It is in these moments that the answer pops into my head as if by magic an idea trickles through my subconscious as if from no-where.  
The art of being idle, Stuart Bush Studio Blog, painting blog, inception of an unexpressed thought
©Stuart Bush The inception of an unexpressed thought part 1, coloured pencil on paper 22 x 29cm
I do realise however that this creative idleness would not work if l didn’t know my craft well. If l didn’t have the skills l have acquired through practice. If l didn’t have the openness of mind to work through solutions and ideas. Then l would stumble and fail to reach a solution about developing my idea into a finished piece of work.
 

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During the time I am idle, my unconscious mind is always working. There is no disconnecting my artistic thoughts and problem-solving.  However, if I was busy all the time I believe the solutions wouldn’t surface in my mind.  I have also discovered that once the problem is resolved in my brain I can’t retrace the steps that go into creating that solution. 
 
In conclusion, the art of being idle feels like a mystery, like a journey into the unknown where the mind takes over and small thoughts and concepts bloom with a life of their own.  I hope this small explanation into the art of being idle helps you to resolve your own ideas by relaxing and letting your subconscious mind take over.
 
The art of being idle, Stuart Bush Studio Blog, painting blog, inception of an unexpressed thought
©Stuart Bush The inception of an unexpressed thought part 3, coloured pencil on paper 22 x 29cm

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