The ultimate experience – Crashing Wave by Mary Heilmann

The ultimate experience - Crashing Wave, Mary Heilmann, Stuart Bush Studio Blog
©Mary Heilmann, Crashing Wave 2011 oil on canvas 127 x 101.60 cm, All rights are reversed by the artist
At the Whitechapel Gallery in 2016, many thoughts rushed through my mind the first time I saw the painting ‘Crashing Wave (2011)’ by Mary Heilmann.  As I looked at the painting it evoked a special moment.  I remember being out on my body board on Manly beach, Australia, at complete peace with my surroundings.  The air was crisp, and the sun was bright as I pitched forward. I kicked with my flippers while paddling hard with my hands as I took off down into a crystal clear barrel wave. I rode the perfect wave, a foaming mass of white water.  The ultimate experience!
 
It was a weird feeling being out in the sea, which strangely had surprising similarities to painting in a studio.  There is the same solitude in painting when you’re standing with a brush in front of a canvas.  You’re in apparently harmless water, but there is the feeling that if you’re not alert, like one wrong move at the peak of the wave, you could end up scrambling to stay on the surface. The consequence being that you could get thrown around and washed out. Mental and physically rejected back on the beach or in front of a failed canvas.

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Mary Heilmann’s unforgettable painting combines subject with spills and accidents, runs and washes, that are akin to nature.  Although Hellmann only witnessed surfing as a spectator sport, she has captured its impression in the surface energy of her painting. Using a geometric structure, Mary invites you to have an aesthetic experience.  A remarkable vibrant experience that is enthralling, leaving the feeling that reality has been refreshed.
 
Mary highlights the need to be at one with what you are doing.  One mistake and it’s over.  In both situations, you can spend a lot of time thinking and waiting for the right moment; the right wave or inspiration to get started. Hoping for the world to move through you. Undisturbed by turmoil and disorder.  Aiming for a placid stream of serenity where things come together in the stillness.  When you are in tune with that stillness, incline your mind towards a majestic moment.   Confronting the sharpness of life as you harness nature and ride the wave of an idea back to shore.

External related link

Mary Heilmann's biography - artnet.com

As Mary Heilmann says, “Each of my pictures can be seen as an autobiographical marker. A cue by which I evoke a moment from my past or my projected future. Each a charm to conjure a mental reality and to give it physical form.”

 
Mary Heilmann was born in 1940 in California. As a student, she trained as a ceramicist and a sculptor. After trying to complete in an all-male environment in both these fields she struggled to get any attention.   Then Heilmann decided to paint. She had her first show in New York in 1970 at the Whitney Museum of American Art after moving to New York in 1968.

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Anni Albers weaves her magic

Stuart Bush Studio blog, Anni Albers Wall Hangings
Anni Albers Wall Hanging 1926 Mercerized cotton, silk, 2032 x 1207 mm, The Metropolitan Museum of Art, Purchase, Everfast Fabrics Inc. and Edward C. Moore Jr. Gift, 1969 © 2018 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York/DACS, London
Anni Albers at Tate Modern (11 October 2018 – 27 January 2019)
There was clearly was a buzz in the room when I entered the show at the Tate Modern. It was Saturday afternoon and the show was packed with inquisitive faces.  The Anni Alber’s exhibition was arranged to highlight her life’s work and show how her ambitious ideas started.  The ancient craft of weaving portrays the potential to impact peoples lives with beauty and functionality on its own terms. Textiles are at the heart of many cultures and this knowledge is passed on through the generations.  In this exhibition Anni Albers weaves her magic, by combining the attitude of the Bauhaus with the roots of modern abstraction.   
 
When looking for an exciting art exhibition, textiles is not something I am usually drawn to.  Similarly this must of been how Anni Albers felt when she joined the Bauhaus. On her arrival at the Bauhaus in 1922, Albers was encouraged to participate in the ‘Women’s workshop’ and dissuaded from joining the men’s painting class.  Although Anni was initially unenthusiastic about weaving, it was probably the best thing that ever happened to her.  
Stuart Bush Studio Blog, Anni Albers weaving in her studio
Anni Albers in her weaving studio at Black Mountain College, 1937
Weaving has the potential to interlink many disciplines including art, design and craftmanship. Here Albers was able to explore her creative ideas away from any direct male competition.  She found a unique way forward incorporating beauty and delight in the structural principles of textiles and abstraction.  Textiles allowed her see the perfect marriage of grids, lines and repetitive patterns.

Anni Albers weaves her magic

Josef and Anni Albers Foundation
 
Albers was able to fully capitalise on the Bauhaus way of teaching by going back to basics where form follows function.  She saw the opportunity to combine it with ideas from highly influential key figures around her. People like Josef Albers, the painter and colourist who she married in 1925, and the painter Paul Klee.  Her weavings and wall art helped Anni Albers earn a passport to the US, enabling Albers and her husband to flee from the rise of the Nazi party in 1933.
Stuart Bush Studio Blog, Anni Albers TR II
Anni AlbersTR II1970Lithograph50.5 x 55.6 cmThe Josef and Anni Albers Foundation, Bethany CT© 2018 The Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York/DACS, LondonPhoto: Tim Nighswander/Imaging4Art
From the US, Albers made frequent trips to Peru, Cuba, Chile and Mexico.  These inspiring trips encouraged her to see textiles from a new perspective.  She found, that weaving was capable of serving a communication purpose in different cultures with no written language.  It was also able to compete with painting and sculpture; and had an impact on architecture and printmaking. 
 
Albers took massive strides forward with what she later called ‘pictorial weavings’. The amalgamation of geometric abstraction into textiles were beautiful artworks in their own right.  Albers cemented her position in the world of art by hanging her weavings on the wall, competing directly with other forms of art like painting.  She became a catalyst in the revolution between arts and craft, aesthetics and function. The ideas developed at the Bauhaus have filtered into our daily life.   I recommend a trip to see this thought provoking interlace of ideas.
 

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The inspirational work of Franz Kline

Stuart Bush Studio Blog Franz Kline
Franz Kline, Vawdavitch, 1955. Oil on canvas, all rights remain with the artist
The first time I saw the inspirational work of Franz Kline was at the Abstract Expressionist exhibition in 2017 at the Royal Academy in London. Prior to that, I had only seen Kline’s work in reproductions in books.  I had always been intrigued and impressed by his paintings and when I saw his original work for the first time l was not disappointed. Kline’s work had a strong impact on me. It evoked the feeling and emotions that l have about the city.  It reminded me of the grandeur and the scale of the New York skyline.  Using line and form, his mainly black and white paintings, ask ‘Is this really what reality is about?’
 
Early in Kline’s career, he visited Willem de Kooning’s studio.  At that time Kline was drawing and painting representational images.  De Kooning introduced Kline to a Bell-Opticon enlarger.  When Kline’s representational drawings were projected onto a canvas Kline saw a new way forward. The images inspired Kline to make an experimental leap into abstraction.  
 
Throughout his career Kline was reluctant to talk about his art.  Unfortunately, the lack of dialogue had an impact on his career.  With little confabulation about what he was working towards, collectors since his death, have focused on other Abstract Expressionist like, De Kooning, Pollock and Rothko.   
 

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Abstract expressionism at the Royal Acamdemy of Arts, London
His painting process of white over black, over white in repetition using household paint is a sign that Kline saw his painting practice as different.  Household paints are clearly less expensive and less refined. But they enabled him to paint in his own, unique style using a mixture of high gloss and matt. However, at times it seemed like he was not striving for fine art, and not striving for durability of his legacy.  
Stuart Bush Studio Blog Franz Kline
Franz Kline, Andrus, 1961, All rights remain with the artist
 
In fact, Kline’s art showed other priorities.  It contained is a lot of intangible realness, which examined the grittiness and abrasiveness of the city.  There is a sense of the physical danger in the New York streets as law and order was fraying.  
 
Kline’s art was based on personal vision and inner thoughts, influenced by what he saw around him; the streets of New York and Jazz Music. Abstract painting and Jazz music without words suggests a profound correlation with the way people experience the city.  Each painting had its own rhythm. Line, colour and form were influenced by melody, harmony and rhythm like in the free jazz compositions of Miles Davis.  The paintings reflected the streets.  When looking at a Kline painting you have a unique sense that they go deeper and beyond the surface.
 

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Abstract Expressionism - A time line of history, The Met
Kline’s painting technique was able to capture a visual intelligence as his captured forms competed with each other.  By the subtraction and the addition of new forms throughout his painting, he looks at the subtracted nature and essence in the city.  He envokes the stillness and movement, the noise and silence, the negative and positive, and the absence and presence. The result is a personal account and a romancing of the poetic qualities of the city that challenges the notion of beauty.  The limited palette hints that Kline may have a lack of knowledge about colour, but Kline’s seeks to evoke feelings by using the colours he sees when he looks up from street level.  
 
Kline work evokes a tangible experience.  There is a joy of geometry from the colossal departure from nature.  The drawings that started as representational, distilled and reframed through a projector find a response to genuine psychological needs within the details. Through light and dark you are drawn to the shape of something impalpable.  The resulting sculptural forms painted with abstract values, suggest a path to truth.  Kline appears to ask what the significance of each experiences is?   His work is certainly subjective.
 

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An art collector’s role in society

Stuart Bush Studio Blog, an art collectors role in society, he has never been in love, he doesn't know what love is
©Stuart Bush, He has never been in love, he doesn’t even know what love is, gouache on cartridge paper, 43 x 24 cm
In Malcolm Gladwell’s book, ‘David and Goliath, Underdogs, Misfits and the Art of Battling Giants,’ Gladwell considers how disadvantages can be advantageous.  I found his book insightful and it made me think about the art collectors role in society.
 
The book starts with the story about the conventional interpretation of the familiar biblical tale of David and Goliath.  In the story David is the symbol of the underdog. However, Gladwell explains in his interpretation, that there is another view of the ‘underdog’.

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David’s sling is a devastating weapon.  It was one of the most feared weapons in the ancient world. The stone that comes from David’s sling and has the equivalent power to that of a bullet from a 45 calibre pistol.  It also sounds like Goliath is a guy who can’t see.  There are many suggestions in the story that Goliath is suffering from acromegaly which is a benign tumour on the pituitary gland.  The side effect of the cyst is that it can cause restricted sight.  
 
Gladwell explains the story is really about a big lumbering guy weighed down with armour. Plus, Goliath can’t see much more than a few feet in front of himself.  He is going up against a courageous kid running at him with a devastating weapon which has the power of 45 calibre handgun.  That is not the story of a so-called underdog.
 

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Wishing for dyslexia - also inspired by 'David and Goliath' by Malcolm Gladwell
This can be related to being an artist.  As an artist you have to have the courage to stand and say, “I have a new way of doing things, and I don’t care if you think I’m crazy.”  As an art collector; they have to look for that craziness, if they want to find a David.   
 
On the face of it, every artist could be a David.  But by choosing carefully and looking for what is not apparent, the art collectors role in society is to recognise the advantages that an artist protrays in his work that will make him successful.  Once the advantages have been spotted by an art collector, the collector needs to support the artist and to root for them.  Thereby building a mutually beneficial relationship. 
 
“If there’s a Goliath in front of you that means there’s a David inside of you,” Carlos Rodriguez.

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Isle D’Hollander – in and out of abstraction

Stuart Bush Studio Blog, Isle D'Hollander, In and out abstraction
Isle D’Hollander, Untitled, 1996 Oil on canvas, 41 x 29 cm, © The Estate of Ilse D’Hollander. Courtesy The Estate of Ilse D’Hollander and Victoria Miro, London/Venice
There is something very solitary about Isle D’Hollander’s art. She paints modest and subtle paintings that float in and out of abstraction.  In this review of her exhibition at Victoria Miro in Mayfair, I want to discuss her work as she immerses herself in the now, and interpret the open questions she asks through painting.  
 
D’Hollander’s paintings are like a form of mediation with Belgian landscape; as she tries to capture aspects of the illusion we see.  The uncomplicated studies are painted from memory after long walks and cycle rides.  They have a tranquillity resembling the gently, rolling, green landscape. They are instruction us to be more present with regards to nature, to notice and to look at what is behind our reality and life.

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Kerry James Marshall, The History of Painting
 
D’Hollander uses paint to try to find herself.  Her painting ‘Untitled,’ 1996 hints at abstraction however is entrenched in reality.  It is painted with soft thin layers of paint referencing the landscape even though it rejects most of the detail.  The sombre tones of the painting are like a lightly applied mist.  Words really don’t do this tender little painting justice.  It grasps at feelings and emotions that evade commentary.  The quick studies appear to be completed without doubt or hesitation but as a painter, I feel the deep insecurities that lurk under the surface.  
 
In Untitled 1992-93, in the back room of the gallery, perception is everything as representation completely recedes.  Like her other paintings, it needs time to look at and investigate in order to get a sense of it. Her paintings are intended to be mysterious.  
Stuart Bush Studio Blog, Isle D'Hollander, In and out abstraction
Isle D’Hollander, Untitled, 1996 Oil on canvas, 41 x 36 cm, © The Estate of Ilse D’Hollander. Courtesy The Estate of Ilse D’Hollander and Victoria Miro, London/Venice
Through abstraction, the paintings to try to portray more than realism can offer.  Therefore, grasping at timeless primitive forces and going beyond what is visual.  Different weights, different velocities of marks add to the overall effect.  Wet and dry marks, with a brush, a palette knife, a cloth or by using fingers stimulate an emotional response.  Like a musician composing harmony and using dynamic configurations for pitch, tempo, and space.  The tonally graded colours work to give emotion like an eloquent drama.  The colours and forms depicting the impact of modern life on the human soul.
 
In 1907, Wilhelm Worringer wrote, “The tendency to abstraction is a consequence of people’s deep insecurity about the world.” Deep insecurities and uncertainity about the world is motivation for many painters and artists.  As a painter, I use paint to try to access the deep meaning that is indeed hard to describe.  Like D’Hollander, l work and strive towards a poetic quality.  
 

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D’Hollander sadly committed suicide aged 28.  I do hope the lack of recognition in her life had nothing to do with the choice to take her own life.  During her life, D’Hollander had only one solo show. It is  sad to think that painting wasn’t able to keep her in this world for longer.  
 
D’Hollander discounted the importance of what she had achieved.  The body of work she left behind from 1989 to 1997 shows a maturity that doesn’t reflect her young age.  Her artwork is interesting and exciting with each painting asking a different question about why things need to be different.
 
 
Stuart Bush Studio Blog, Isle D'Hollander, In and out of abstraction
Isle D’Hollander, Untitled, 1996 Oil on canvas, 47 x 40 cm, © The Estate of Ilse D’Hollander. Courtesy The Estate of Ilse D’Hollander and Victoria Miro, London/Venice
In Neil Gaiman ‘Make Good art Speech’ he talks about what you need to be thick skinned to have a life in the arts, in this world, it’s shame that D’Hollander didn’t hear it.
 
“a life in the arts, is sometimes like putting messages in bottles, on a desert island, and hoping that someone will find one of your bottles and open it and read it, and put something in a bottle that will wash its way back to you: appreciation, or a commission, or money, or love. And you have to accept that you may put out a hundred things for every bottle that winds up coming back.”
 

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The small paintings are so full emotion and feelings. With their own unique rhythm.  As a body of work, there is energy running through the paintings.  An enquiry into what painting can express.  With representation partly left behind, the painting goes beyond what realism can offer.
 
The life of an artist is very precarious.  D’Hollander left this world leaving these poignant painting, in some way making life better for all us.  They help us understand that there is more to what we can see.  It is a real shame she isn’t here her to celebrate some of the love and appreciation before departing.
Stuart Bush Studio Blog, Isle D'Hollander, In and out of abstraction
Isle D’Hollander, Untitled 1992-93 Mixed media on cardboard 71 x 100 cm © The Estate of Ilse D’Hollander. Courtesy The Estate of Ilse D’Hollander and Victoria Miro, London/Venice
 
 

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What I have learnt from Alex Katz

Stuart Bush Studio Blog, Alex Katz
Alex Katz Coca Cola Girls Timothy Taylor Gallery ©All rights remain with the artist and the gallery
What I have learnt from Alex Katz;  In 1973 Alex Katz had his first exhibition at the Marlborough Gallery in New York.  At the same time, Abstract Expressionism was riding a wave of popularity in New York.  Katz believed and trusted that what he was interested in was of substance and significance, even though it went against the grain.

 

On first impression Alex Katz’s work appears to be about people and the landscape. However it doesn’t take long to realise that the subject matter is just the outer most boundary of the painting and Katz has a lot more on offer in his paintings.  Katz focuses on ordinary, everyday life as a subject, but his paintings are anything but ordinary.  The style, the present moment and formal qualities are the real focus of his work.

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Even thought he received negative comments about his work from the likes of Clement Greenberg, Katz’s supreme confidence and clarity gave him the self-belief that his paintings could stand up against his peers.  He took on the Abstract Expressionists with their large canvases, and he tried to knock them dead with the power of his images.

Stuart Bush Studio Blog, Alex Katz
Alex Katz, Serpentine Gallery installation view 2016 @Alex Katz, All rights reserve with the artist
Katz’s paintings have a cinematic feel with bright, bold figures reminiscent of popular culture and commercial art.  By focusing on ephemeral moments and the everyday on the surface of his paintings, Katz’s found the space to develop a highly stylised painting shorthand.  By having his focus on the present, his work is always about the now. Meanwhile, other art movements came and went as the decades past.

 

The paintings are clearly figurative, but the spaces within the picture creates abstract elements. Katz’s, by simplifying the shape and form of colour in his pictures created a type of grammar that is abstract.  This grammar brings the composition together giving the paintings a spirit and energy.

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I wish I could paint everyday

The surface of the painting is all done with a quick flick of his brush, allowing a vast canvas to be painted in under 5 hours.  The brushwork is simple, creating an almost naive shorthand that is precise and unfussy.  You can tell that Katz isn’t exaggerating about the 1000s of paintings he threw away in order to get the ‘big technique’ mastered.

Stuart Bush Studio Blog, Alex Katz
Alex Katz, Black Paintings Timothy Taylor Gallery, London 2017 ©Alex Katz, All rights are reserved by the artist
The style of painting allows for the simplest of effort to get the detail correct.  Using line and colour the whole comes together and takes centre stage.  The painting’s colour and its intensity stand out over the detail.  As Katz’s puts it, the ’style is the content’.  The outcome is a body of work that feels fresh with vitality. 

 

By understanding how Katz has removed the illusion of depth and focused on style and fashion and the light on the surface, I have learnt a lot about how Katz has a created an ever-changing image of the presence.  In 1947 Adolph Gottlieb said, “The role of the artist has always been that of image-maker. Different times require different images…To my mind, certain so-called abstraction is not abstraction at all. On the contrary, it is the realism of our time”. Katz’s paintings really have created the realism and the immediate presence of time.  The ordinary is flat, but it has an intensity about it that is stimulating and sensational.  Alex Katz’s has the right to be satisfied and self-assured, his work is always about the now.

Alex Katz; Coca-Cola Girls is currently on show at the Timothy Taylor Gallery in London until 21 December 2018.

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Finding a love for collecting art

Stuart Bush Studio Blog, Inclination of form, finding a love for collecting art
©Stuart Bush, Inclination of form, oil on canvas
I believe finding a love for collecting art is about finding an artist with a kindred spirit to yourself.  Artists critique all areas of life, from nature to politics to the social system.  They look not just on the surface, but they investigate and ask questions in order to seek new meanings and associations.  
 
When I come across a work that l feel a connection with, I write down the artist’s name.  I also Iook for websites and galleries that exhibit the said artist’s work, and I join their mailing lists. I can then delight in opening my inbox and finding compelling communication.
 
My advice is to broaden your outlook and build up knowledge about different types of art.  By improving your understanding of art, it can help you feel more confident with finding a work of art to purchase.  It is easy to find images and text about artist’s work on the internet, and the information can prove to be very informative.

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A painting has to stand up by itself
 
Understandably, there may be apprehension when starting an art collection.  Artwork can seem a hard thing to put a value on.  Negative thoughts of potentially wasting money can stop impulse purchases. But with careful research, you can avoid the feeling of making an oversight.  A website like artnet.com or a artist’s website can be a very useful place to start.
 
There are many different price points.  Owning an original painting will be at a different price point than owning a print.  It is all about what price you’re happy with.  Next is the question when finding art that you love, is to ask yourself ‘ls there anything more important I need to spend my money on?’ However, if you see an artwork that speaks to you, who cares what price you paid as long you love the work.  
 

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There are a lot of people who look to others to say what is good or bad, valuable and valueless. Following the crowd is easy. On the other hand, sometimes a work of art just grabs you and you can’t stop thinking about it.  When art is this good, any research on the artist or the artist sales history can feel meaningless.  If you love it and the work is set at a reasonable price, the artwork strikes a chord, then buying the artwork straight from the artist can develop into a relationship.  A relationship where the collector is supporting the artist directly.   
 
This kind of relationship is beneficial for both parties.  For the collector, they are collaborating and directly engaging with the artist. The collector can aid and abet the artist to further explore and to realise projects.  For the artist, they appreciate advocates of their art, it boosts their self-belief and helps to finances more work.  
 
Finding a love for art to me is about awakening your senses. Who cares what is fashionable or what other people think.  I don’t think these concepts should be considered when someone purchases art.  
 
When art asks, ‘what is the meaning of this?’ and ‘what’s it all about?’  it makes life visible.  And I can’t help being intrigued.  
 

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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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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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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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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 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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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 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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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.
 

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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