Re-evaluating our relationship to space – Richard Wilson, Stealing Space, exhibition review

©Richard Wilson Block of Dering (2017) wood 353 x 250 x 268 cm Stealing Space exhibition

 

When l saw an image of the installation of Richard’s show l was intrigued and decided to visit.   Richard Wilson, the Turner Prize-nominated artist, has been exhibiting for 35 years and has won universal critical acclaim.  In this review of his exhibition ‘Stealing Spaces’ at the Annely Juda Fine Art gallery in London l was interested in how he uses different materials and ideas to draw attention to our relationship with space.   His work titled, ‘20:50‘ (1987) is an installation of oil in a room up to waist height and helped draw attention to his practice which uses methods of engineering combined with his interest in architecture. 
 
This quote from ‘Richard Wilson’ by Simon Morrissey, Tate Publishing 2005, page 7, gives us an insight to his way of thinking.
 
“I need that initial thing from the real world because I’ve always been concerned with the way you alter someone’s perception, knock their view of kilter.  And to do that I need to start with something we think we understand.”
 
This idea that you can ‘alter someone’s perception’ is something I can completely relate to and try to achieve in my own work and is the reason I find Richard’s work fascinating.  In his work Richard encourages the viewer to reconsider and re-evaluate common spaces, thereby opening up a very rich and productive exploration of physical space.
 
I believe that Richard’s work shows the importance of the artist’s role in finding a humble idea that has previously been overlooked, and make it into art by develop it into a life-long practice, elevating it up to something purposeful and meaningful and thereby adding wonder. 

 

©Richard Wilson Stealing Space exhibition all rights are with the artist
When I first saw the two large sculptures made from familiar materials squeezed into the white rooms they made me wonder how he achieved the aim of getting those big structures up the stairs.   When viewing, Space Between the Landing and the Gallery (2017) plywood on wood and metal, 310 x 740 x 101 cm, my attention is drawn to what I took for granted when I walked up the four flights of stairs moments ago.  While viewing the installation I wanted to re-consider my short journey up the stairs.  I did not notice the interesting details from the stair banister and steps, the significance of the space created and my relationship to these spaces.  My thoughts lead me to contemplate, Marcel Duchamp’s, ‘Nude Descending a Staircase No. 2 (1912) oil on canvas, in a new way.  I thought how a person moves through space and they ascend and descend stairs and I found this interplay of connections and ideas intriguing.

 

Nude Descending a Staircase, No.2, 1912 – ©Marcel Duchamp – All rights belong with the artist
I can see why Richard makes a minimum of 3 sketches a day as I found his small framed drawings compelling and it is clearly the primary foundation of his ideas and practice. If I had one criticism of the exhibition, it would be that I would have loved to see the original sketchbook drawings to discover how Richard’s ideas started and progressed rather than just the finished sketches and finished installation.  I would have been very interested in understanding how he developed his ideas and this would have taken this exhibition to another level.  
 
The installations, models and drawings in the show made me take another look at the external and internal space, the positive and negative space, and to reconsider my memories and experience of moving through space.  This exhibition of Richard Wilson’s work has forced me to reassess architecture’s relationship and my response to space.  I realised I am overlooking the beauty of the familiar, the layers of meaning as I walk through a space and the resulting memories of the journeys I take. The exhibition, as a result, was one of surprise and delight and I walked away feeling I had learnt a great deal about using and understanding art and space.
 

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The secrets of art and creativity

©Stuart Bush The inception of an unexpressed thought part 1, coloured pencil on paper 22 x 29cm
©Stuart Bush The inception of an unexpressed thought part 2, coloured pencil on paper 22 x 29cm
©Stuart Bush The inception of an unexpressed thought part 2, coloured pencil on paper 22 x 29cm
©Stuart Bush The inception of an unexpressed thought part 4, coloured pencil on paper 22 x 29cm
Art is about using your creativity to make new connections to things around you.  The intention is to reconsider what you previously thought to give you a better understanding of what life is really about.  
 
Creativity in art is really about playing and experimenting. Taking two random things and letting things happen.  Being overly self-critical or self-conscious can prohibit a breakthrough.  You’re not trying to re-invent the wheel; you need to encounter discomfort and ignore any fears and tell yourself, this is for me and try not to worry what other people think.  
 
You could connect something banal like house bricks, reflecting coldness and the mundane, as a wake-up call to the excesses of capitalism like Carl Andre and his artwork, Equivalent V.
 
You take on some of the big topics, like immortality, life and death by linking the cycle of life, with flies living and dying in a glass box like Damien Hirst, titled ‘A Thousand Years’ (1990).
 
Or you could take up a skill like drawing, painting or pottery and just get making and see where it takes you.  The trick is once on a path, you’re bound not to know where the work is heading. If you thought you knew where your ideas are going, your artwork is probably stillborn or dead and lacks any inside energy.
 
The Helsinki Bus Station Theory by photographer Arno Rafaela Minkkinen explains some interesting and worthwhile advice:

The Helsinki Bus Station theory: 

Some two-dozen platforms are laid out in a square at the heart of the city. At the head of each platform is a sign posting the numbers of the buses that leave from that particular platform. The bus numbers might read as follows: 21, 71, 58, 33, and 19. 

Each bus takes the same route out of the city for a least a kilometer stopping at bus stop intervals along the way where the same numbers are again repeated: 21, 71, 58, 33, and 19. 

Now let’s say, again metaphorically speaking, that each bus stop represents one year in the life of a photographer, meaning the third bus stop would represent three years of photographic activity. 

Ok, so you have been working for three years making platinum studies of nudes. Call it bus #21. 

You take those three years of work on the nude to the Museum of Fine Arts Boston and the curator asks if you are familiar with the nudes of Irving Penn. His bus, 71, was on the same line. Or you take them to a gallery in Paris and are reminded to check out Bill Brandt, bus 58, and so on. 

Shocked, you realize that what you have been doing for three years others have already done. 

So you hop off the bus, grab a cab (because life is short) and head straight back to the bus station looking for another platform. 

This time you are going to make 8×10 view camera color snapshots of people lying on the beach from a cherry picker crane. 

You spend three years at it and three grand and produce a series of works that illicit the same comment: haven’t you seen the work of Richard Misrach? Or, if they are steamy black and white 8×10 camera view of palm trees swaying off a beachfront, haven’t you seen the work of Sally Mann? 

So once again, you get off the bus, grab the cab, race back and find a new platform. This goes on all your creative life, always showing new work, always being compared to others.

What to do? 

It’s simple. Stay on the bus. Stay on the f*cking bus.

 
 
So play and make random connections.   These new connections you make are only significant if they generate new meaning.  Use your intuition to sense which have potential and to figure out the best to communicate this idea to someone.   Make art from what is around you and try to make a comment about the world.  
 
When telling a joke, the funny part comes when two different separate ideas connect, generating a new meaning, similar to connections within a successful work of art.  Remember art is wonder!  It doesn’t matter if someone else likes it or dislikes it.  What is important is that your audience can’t stop thinking about it.  The possibilities are endless.  And remember to stay on the f*cking bus!
 
 
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Productivity in the artist’s studio

©Stuart Bush, sketchbook study 78, oil and charcoal on paper
 
I am taking positive steps to make me more productive in the studio including things like planning and reviewing what I am going to do in the studio before I arrive and creating some studio ground rules.
 
I have a list of current projects and series of work l am trying to complete. Before l go to my studio I write down a short list of next steps l need to take, often between two or three depending on long each one will take.  This brief list is handwritten in my diary, so it is clear to follow.  This way I know what my first task is, therefore avoiding beginning with an extended period of uncertainty.  Of course, uncertainty when painting is always present, but I try to remove it at this stage with preplanning.  
 
To choose the right tasks, I ask myself a series of questions; If l only achieve 2-3 tasks in a day what would these tasks be and would l be satisfied if l only get these done? If I made only one work of excellence, which one would make an enormous difference and have the greatest consequences? 
 
To help keep my mind clear and on creative studio time I write down all the distractions l might encounter on a to-do list.  Plus l avoid all office and business related tasks while in the studio to avoid all low-level activities.  Even if these tasks are urgent, I still try to do them after my creative block of time of one to three hours.  The creative time must come first.

The rules I have put in place while working are;    

Phone on silent, select music quickly (if I choose to listen to any at all), no tv or video, no newspapers, no friends dropping by, no emailing, no internet research unless it is related to making my next work, therefore no diversions and distractions from the creative task ahead.
 
If you like my post, please join my mailing list for my monthly email newsletter or if you have any suggestions to improve productivity in the artist’s studio please comment below.
 
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Michael Craig-Martin’s book, ‘On being an artist’ – book review

All rights are reserved and are with the artist. ©1973 Michael Craig Martin, An Oak Tree (1973)

Michael Craig-Martin’s book titled ‘On being an artist’ is a collection of thoughts and notes that Michael has written and collected over the years. The book presents an interesting and insightful account of aspects of an artist’s life, the central themes of Michael’s work and the way he sees the contemporary art world. The book covers Michael’s experiences that he has gained as an art tutor at Goldsmiths, teaching, Damian Hirst, Julian Opie and Gary Hume and as a successful international artist.

In the book, there are 151 texts written in an informal and sincere style. They are easy to understand and read, ranging from chapter titles such as, ‘On advice for aspiring artist,’ to ‘On British attitudes to contemporary art.’ The personal account and practice information is for art students as well as professional artists.  I am sure the book would also be interesting and engaging read for anyone who interested in creativity and the daily thoughts and practice of an artist.

Amazon link to – On being an artist

Michael’s clear and concise explanation of conceptual art through discussing, “An Oak Tree” (1973) one of the many interesting parts of the book.  The artwork creates a suspension of disbelief and highlights how conceptual art doesn’t exist in the object itself but in the mind of the viewer.  ‘An oak tree’ is a mental concept like all conceptual art that becomes a trigger to encourage contemplation.  The work highlights how art is a place inside your head where you can go, on your own and process the world and its complexities.

I enjoyed the clear and concise ideas, and concepts explained in a friendly and helpful manner.  It interesting to hear about the highs and lows of being a successful international artist and the difficult and challenging journey of finding your own path. I would highly recommend it for any aspiring artist.  Michael is certainly honest, and I found that very refreshing, “I would never advise anyone to become an artist. If you have another option, take it.”

Artbook reviews;

Eric Fischl’s Bad Boy

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A dialogue between me and my work

©Stuart Bush, Strange Heart Sings, oil on board 30 x 40 cm

I have an inherent need to communicate and express something. I am constantly looking for a new way to read the world to understand the physicality of forms. I see my practice as an exercise of being a painter/curator of moments of our lives; reclaiming a more agreeable melody, restoring, reordering and decluttering to focus on what is truly important.

By focusing on the space and the possibilities of structure and composition, I hope to emphasise the beauty and harmony from the chaos in the city, to invoke a new reading of its noise, movement and pattern. By revealing things through a slow open process, my work uncovers the importance of the positive and negative space. Where rhythm, colour and form play off each other, and each shape takes it configuration and meaning from the next, as a metaphor for the qualities of a seductive poem or an intriguing piece of music.

There is truth in the paintings as I try to deal with the present tense and how these ephemeral junctures were for me. A situation and context where discoveries and revelations happen. There is a layered time as I grapple with evidence of awkward moments, aspects of failure and changes of direction. Leaving the physical traces of responding to mistakes, that relate to intrinsic qualities of being human.

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A painting has to stand up by itself

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Colour is for squares – Exhibition review of Josef Albers, ‘Sunny side up’

©Stuart Bush, When it is advisable to be wrong, oil on board 45.7 x 60.1 cm – £1000 + shipping enquiry

Through painterly questions of scale, content, colour and form I’m interested in expressing physical and emotional vigour of the human body in the city. I often work with and against the silhouette of the figure in the city.  I capture the ephemeral with assertive gestures inspired by poetry and music.   My process draws attention to the edge of things, to what is already there.  I look to create a visual poetry with energy and motion arrested in space by simultaneously hiding and revealing our world to us and focusing on the void in between the things.

Exhibition Review

Color study, n.d.
Oil on paper
11 1/4 x 4 7/8 inches (28.6 x 12.4 cm)
© 2017 The Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York. Courtesy David Zwirner, New York/London.

Josef Albers is known for his Homage to the Square.  He uses a series of variations of the square that illustrated how colours affect each other. His book titled, ‘The Interaction of the Colour,’ is a studio course for teaching and studying what happens between colours.   Josef Albers was born in Bottrop in Germany in 1888 and died in New Haven, USA in 1976.  He taught at the Bauhaus and at Yale.  I came to the exhibition of Josef Albers’s work at David Zwirner in London and was looking forward to seeing more of his work and hoping to develop a further understanding of Albers basis modernist theory of colour.

 

The show spread across 2 floors, contains just over 30 artworks. The title of the show ‘Sunny Side Up’ gives you positive expectations of an uplifting experience.  There is plenty of space to view each small artwork, and they are certainly is uplifting especially because, on the day I went, there was a protest march against Donald Trump going at the end of the street on the drab wintry day.

The interaction of colour iPad app 

I was surprised to find lines that were clearly crafted by hand and sometimes the areas of colour show the marks from the palette knife that was used to create them.  The paintings are studies which show that perfectionism is not significant to Albers.  The little colour swatches on card, with writing on them, show Alber’s thought processes like a sketchbook of ideas where he worked out what he was thinking. 

 

I expected the flat plains of colour in the artwork to feel empty. However, the squares are like little doors into another world, the world of the sublime. I felt I was being pulled into the squares and into a deep abyss of sunshine.

Color study for Homage to the Square, n.d.
Oil and graphite on blotting paper
13 x 13 x 1 1/4 inches (33 x 33 x 3.2 cm)
© 2017 The Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York. Courtesy David Zwirner, New York/London.

This exhibition acknowledges the importance of Josef Albers and the contribution he has made to the timeline of art and colour education.  The man-made squares of different sizes of yellow, orange and gold make you think more deeply about colour and help develop a deeper appreciation of abstract art.   My experience with the show was stronger because of the gloomy weather outside and contributed to increasing my enthusiasm to continue learning about the uses of colour in my work.  There are is so many variables that can affect the impact of the square of colour and Albers is clearly the master, as Albers says, “If one says ‘red’ and there are 50 people listening it can be expected that there will be 50 reds in their minds. And one can be sure that all these reds will be very different.”

Color study, n.d.
Oil on paper
11 1/4 x 4 7/8 inches (28.6 x 12.4 cm)
© 2017 The Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York. Courtesy David Zwirner, New York/London.

 

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Risk taking with oil bars

Oil bars are an interesting art material to use due to the simplicity of their application.  They are great to have in your toolkit when you want to work quickly and on a large scale to create an undercoat or to work in a sketchy graphic style.  I find pleasure in using them when creating line drawings, outlines or filling large areas with a uniform colour. They are more like drawing than painting in many ways as you hold the stick like a drawing implement.
 
I have always found oil bars challenging to use on their own.  One of the most challenging things about oil bars is the immediacy and expressive nature of the oil sticks as you can’t remove any marks.  When I work with oil bars I don’t smudge the marks, even though they produce a very limited type of stroke. I find some of the outcomes created may need repainting in oil paints to vary the effect and make them more compelling.  
 
Oil bars encourage risk taking but can also produce accidents, as they are extremely direct way of making marks with a lovely, adnominally large waxy oil pastel.  I wholeheartedly recommend giving them a try and being experimental.
 
The sketches below show a comparison of using oil bars and charcoal on the figures.  The background on both studies is mixed media.
©Stuart Bush Untitled study 2014
©Stuart Bush Untitled study with oil bars/mixed media 2014

Have you used oil bars in your creative practice? Feel free to share your successes below.

Related post: My favourite paints 

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Laura Owens exhibition review

Laura Owen’s exhibition at Sadie Coles HQ in London gives a broad overview of her current work. In her paintings, she uses a range of digitally created images and painted marks in abstract compositions. Laura Owens was born in 1970 in Ohio, she began her art career in the 1990s, more recently she opened her LA studio as an exhibition space called 356 Mission in collaboration with the art dealer Gavin Brown.
Installation view, Laura Owens, Sadie Coles London. Copyright the artist, courtesy Sadie Coles HQ, London
 
I was curious to learn more about Laura Owens’s work after I read that Laura Hoptman, a Curator of Painting and Sculpture at MoMA in New York believes she is a Caposcuola, (the founder of an artistic movement) due to the way she ‘assimilates digital languages into painting’.  In this review I want to explore some of the ideas in her work, and consider her use of newspaper clippings, screen printed on canvas, cropped shapes with drop shadows and impasto mark, all combined into photoshop, and ask whether this is a worthy subject for painting?
 
Sadie Coles HQ offers an ample white space and second small second room for some of Laura’s notebooks.  The large exhibition space with its white walls is an excellent backdrop for the busy paintings. The gallery is well lit, and the show includes a lot of work.  If I had one criticism of this show, it would be that there is too much work to focus on.  Viewing the exhibition starts well, but there is a repetitiveness of painted digital imagery, and after twenty or so large canvass the show as a whole feels overwhelming.  I did wonder whether that was intended because it is so obvious.
 
I see Owen’s work as a way of creating a dialogue about the man-made visual world, and focusing on technology that turns everything into pixels and data.  A visible world where we can find new ways to tune in through our portable devices which are constantly changing.
 
The use of technology in paintings originated with Pop Art, from Warhol’s screen prints to Hamilton’s and Blake’s collages took art in a new direction.  Laura’s use of sources makes me think about Matisse’s cut-outs and his use of collage and the way a composition is composed of editing, refining and manipulating shapes.  Laura’s pictures appear to be predetermined on the computer before they arrive on the canvas including the painterly gestures such as washes, dabs and swipes.  I was curious whether there is a space for spontaneity in her process.
 
Owens method like Matisse, Hamilton’s and Blake’s is a form of semiotic play.  There is a decorative element where a shape is cut out and put into a composition creating a visual rhythm and visual language.  There is a laying of images on top of each other where the contrasting elements with particular colours and elements in space give the work a striking ambience.
 
The result is a play of tension and expansion to create dynamic pictures.  It is a system for thinking about shape and composition and expanding the possibility of what we visually consume, which I find it exciting and playful.  It is very visually engaging and brings up many questions about Laura’s reliance on printing techniques, where her ideas come from, and the freedom of viewer to make associations in a picture.  As a result her work is undeniably a commendable subject for painting.
 
However, I believe that Laura’s work would be stronger if seen smaller doses as there are too many elements in the exhibition as a whole.  I don’t feel the need to revisit the exhibition for repeated viewing as I do after seeing a Francis Bacon exhibition.  Maybe this is because the compositions appear to be predetermined on photoshop, but possibly it is more to do with the overwhelming number of paintings on view.
 
Laura has created a vehicle to show what she sees, the work in the show is undeniably a visual sensation. Her work asks new questions about the most important kinds of processes of expression.  One of the most interesting things about this exhibition and why I recommend seeing Laura Owen’s work is that it is a critique of abstraction and about seeing the things in between the obvious stuff.
 

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My favourite paints

©Stuart Bush, A form of confessional poetry, oil on board, 30.5 x 40.6 cm
©Stuart Bush, A form of confessional poetry, oil on board, 30.5 x 40.6 cm
 
I prefer a buttery, creamy paint; that is easy to manipulate and handle.  This is why Michael Harding’s Artists oil colours have become my first choice.  The strength of colour in the pigment is evident.  There is luminosity that speaks volumes, making my work stand out.  The flow, workability, usability and colourfastness of the paint is highly relevant to me.
 
I have noticed some other brands add less linseed oil in their paint, and this affects the usability and finish. Drier paint gives a matt finish while paint with more flow gives a glossy finish.  I have found that tubes of oil paint from other manufacturers with slightly drier contents will become unusable over a year or two, and this is very frustrating, though a hard, dry tube of paint can be useful at times if you require a matt finish.  I found that the best solution is to use a medium as mediums improve with handling and can increase the glossy finish.
 
Do you use any of these products in your daily practice? Your welcome to add your thoughts and start a conversation below.

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Abstract expressionism at the Royal Academy of Arts, London

Over the years of visiting art exhibitions, few exhibitions have had such an impact on me as the Abstract Expressionist exhibition did at the Royal Academy.  I was staggered by the amount of impressive and inspiring works.  The first few galleries are hung in chronological order, then the order in the galleries changes and the work is hung related to styles and approaches, some rooms have work by more than one artist.  This changing approach works well as it easy to understand the relationships and contexts between the works in each room.
 
In one of the largest rooms, I found two of David Smith’s sculptures and one of Jackson Pollock’s drip painting next to each other, it was a stimulating experience.  David Smith’s sculptures ‘Hudson River Landscape’ 1951 (welded painted steel and stainless steel), and his ‘Star Cage’ 1950,  (painted and brushed steel) sat opposite Jackson Pollocks’s drip painting ‘Summertime number 94’, 1948, (oil enamel and commercial paint).  What was so intriguing and absorbing was how the lines in the three different works were so alike.  Pollock’s dancing splats of paint over the surface were heightened and intensified by the Smith sculptures. I have always delighted in interesting and complex spatial compositions and having these works next to each emphasised their associations.   While Smith calls his work, ‘drawings in space’, Pollock presents his as ‘energy and motion made visible, memories arrested in space’.  This juxtaposition of two and three-dimensional space was enlivening, inspiring and delightful to experience.
 
Jackson Pollock, Blue poles (Number 11, 1952), 1952. Enamel and aluminium paint with glass on canvas, 212.1 x 488.9 cm. National Gallery of Australia, Canberra. © The Pollock-Krasner Foundation ARS, NY and DACS, London 2016;

 

David Smith, Star Cage, 1950. Painted and brushed steel, 114 x 130.2 x 65.4 cm. Lent by the Frederick R. Weisman Art Museum, University of Minnesota, Minneapolis. The John Rood Sculpture Collection. © Estate of David Smith/DACS, London/VAGA, New York 2016
David Smith, Star Cage, 1950. Painted and brushed steel, 114 x 130.2 x 65.4 cm. Lent by the Frederick R. Weisman Art Museum, University of Minnesota, Minneapolis. The John Rood Sculpture Collection. © Estate of David Smith/DACS, London/VAGA, New York 2016;

 

Later l found work by Frank Kline.  I always appreciate looking at Franz Kline’s work and this was the first time I had seen ‘Vawdavitch’ 1955 and ‘Andrus’ 1961, (both are oil on canvas).  The simplicity of the subtle change in the colours and the spatial harmony is very enjoyable.  I think Kline’s work has a strong relationship with poetry and music.  When I look at Kline’s work it always amazes me how ‘less is more’.  I always think of the Mies Van der Rohe quote when looking at reduced and distilled work where simplicity is beautiful.   It looks like Kline used a wide brush to create ‘Andrus’ 1961, he uses a few simple brush gestures in layers of mars black, cadmium orange, crimson, cerulean blue and deep purple mixed with different amounts of white.  The simplicity is intriguing and really sparked my imagination.
 
Franz Kline, Vawdavitch, 1955. Oil on canvas, 158.1 x 204.9 cm. Museum of Contemporary Art Chicago, Claire B. Zeisler 1976.39. © ARS, NY and DACS, London 2016. Photo: Joe Ziolkowski;
Franz Kline, Vawdavitch, 1955. Oil on canvas, 158.1 x 204.9 cm. Museum of Contemporary Art Chicago, Claire B. Zeisler 1976.39. © ARS, NY and DACS, London 2016. Photo: Joe Ziolkowski;
 
If I had a criticism of the exhibition it would be that you need more time to see everything, I found it challenging to select only a few pieces of works to discuss in this review as I really did feel blown away by seeing so much artwork of such a high standard.  After a couple of hours, l needed a break.   Having spent so much time with the works I have mentioned and looking at some of the pieces by other artists I felt guilty walking past further great pieces of work because I felt my eyes and brain needed a rest.  It would be great if you could revisit the exhibition on the same ticket on a different day.  I would happily go again.
 
If you would like to read more, there is an interesting review here on the Saturation Point site written by Paul Carey Kent, after visiting this show and the at the Museo Guggenheim, Bilbao: 3 Feb – 4 June 2017 and comparing the shows.
 

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