Art as a path to the sublime: Agnes Martin at Tate

I have a bit of time today, so thought I would talk briefly about the Agnes Martin show at Tate:
http://www.tate.org.uk/whats-on/tate-modern/exhibition/agnes-martin

Unexpectedly, I found I had a day longer in London last weekend than I thought, so took the opportunity to see the show.

I can honestly say, it is one of the best exhibitions I have ever been to, and I've been to many.  First up: the place was almost empty, which is the best way for a gallery to be, even better for an Agnes Martin show, which requires deep looking and thought in a peaceful environment.

The curation and hang is superb; Martin was in the habit of re-acquiring early work in order to destroy it, here we have examples of her entire life's work.  The examples of early work, while not as interesting to me; they are derivative of other artists's works and movements ( Surrealism, Cubism for example); they were useful as part of the context of her development, as with any retrospective.  For example, Martin's colours remained pretty much the same throughout her career:  neutrals or mostly very pale hints of colours; like looking at colours behind a veil. Where she use stronger tones the colours are still mostly neutrals although stronger colour is occasionally evident.  I was fascinated by this thread throughout her life's work.  It is interesting to see how her work changed when she moved to New York, becoming full of life, expectation and experiment and the moment when she cast off curved lines to embrace the grid, vertical and horizontal line.

Each space provides the work room to breath; the fact that the gallery was almost empty helped of course, but these works require time and contemplation and the hang enables this.  One of the rooms, 7 I think, had cleverly screened a floor to ceiling window with fine white fabric, filtering the light but allowing the grid of the window design to show through, echoing the grids of Martin's work.

Martin's works on paper are equally enthralling, room 10, "presents a retrospective within a retrospective", to quote Tate.  Room 6  shows a collection of silk screen prints published by Parasol Press in 1973 that she had worked on in Stuttgart the previous year.  I found these interesting because Martin had expressed a need to "straighten out her lines" because she could "never paint straight enough".  The slight waverings of her lines in the paintings, creating optical wobbles and movement is one of the aspects of her work that I enjoy; the imperfections of the straight lines reflecting the frailty of human existence and evidence of the artist's hand at that particular moment in time.  However, this desire to straighten out the lines provides us with an insight into her nature; I suspect she was not all sensitive and vulnerable; there is a doggedness, a determination about Martin's continual exploration of line, grid and surface that shows strength of mind and character, whilst acknowledging the frailty of her mental health.  You'd have to be bloody minded to keep on making canvasses of the sizes she selected and to continue exploring her themes as she did.

Room 9:

"My paintings have neither objects nor space nor time nor anything - no forms.  They are light, lightness, about merging, about formlessness, breaking down form"  Agnes Martin, 1966.

The highlight of the entire exhibition for me.  This suite of twelve paintings, The Islands, all white canvasses each 182.9 x 182.9 cm square, are utterly beautiful.  They are so sensitively curated; instead of the usual wire barrier that sounds an alarm should any visitor get too close, there is a platform about eight inches high all round the room beneath the paintings, keeping visitors the same distance from the work.  The walls are painted a shell like tone of palest lilac allowing the works to communicate without any visual struggle. These works require time and patience; I could have stayed in there all day and more. 

Tate describes them as Martin's most silent works.  Their surfaces require intense scrutiny to appreciate their surfaces and fine lines; Martin was interested in East Asian philosophy and spirituality and they reflect this.  I found myself becoming intensely emotional while looking at these works, it was a really profound experience.

On considering why this was so, I think it was the sheer scale of the group that reflect, for me, Martin's intense scrutiny of herself through painting.  I was not overwhelmed by them because I thought they referenced my scant knowledge of Martin's fragile mental health but because of the absolute commitment, determination and focus that these paintings express.

I am not going to describe the entire exhibition, I could not do it justice.  It is a wonderful example of how an artist can produce a profound body of work throughout their life by sticking with and honing one idea, building on it as understanding and experience grows.  I cannot recommend this exhibition enough, it is a "must see".

"You are what goes through your mind, whether you are aware of it  or not, you know, and if you can become aware of it and then if you can try and express it, you are an artist", Agnes Martin, video, Road Trip



(Quotes are taken from Tate literature and web site).

Interesting reviews:
http://www.theguardian.com/artanddesign/2015/jun/07/agnes-martin-retrospective-review-tate-modern

http://www.theguardian.com/artanddesign/2015/jun/01/agnes-martin-review-tate-modern-grid-paintings

http://www.economist.com/blogs/prospero/2015/06/agnes-martin-tate-modern

http://www.telegraph.co.uk/culture/art/art-reviews/11643368/Agnes-Martin-Tate-Modern-review-immaculate.html

http://www.studiointernational.com/index.php/agnes-martin-retrospective-review-tate-modern-london

http://www.independent.co.uk/arts-entertainment/art/features/agnes-martin-at-tate-modern-a-zenlike-quest-for-beauty-10290161.html

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Planning for 2015

I received an email on 22nd December welcoming me to NYOS 15 and I am very pleased to be accepted for the second year running.  It was a welcome bit of good news in the frantic run up to the festivities.

I am pleased that Jenny Pepper,  http://www.jennypepper.com  a felt maker who has a studio on the same farm out at Stonegrave has also been accepted.  It will be a doubly worth while visit for people on the studio trail in June.

For those wanting to put this popular event in their diaries, Open Studios is held on the weekends of:
June 6th and 7th, and June 13th and 14th

Meanwhile, I have some postcards to produce for the looming deadline for the International Postcard Show at Surface Gallery in Nottingham, I have never yet made it down to see the show, but I like the idea of an international exchange of art works.

I will be in the studio solidly for the next few weeks, working on my ballot box project for the Democracy Rocks upcoming show in March/April, (dates tbc).
I have lots of thoughts and ideas floating around in my head but it is time to get on with working with actual materials, to develop, refine and select the format and processes that will make these ideas real.  I am slightly worried that I need to get something ready for early February for photography purposes, but I seem to thrive when I put myself in a tight deadline position!

I am planning to actually get my aritsts' books underway this year too, as well as making the final two large paintings of the quartet I started for my solo show in 2013.  There will be lots more paintings based on sketches and doodles I made last year as well.

Oh, and I am going to finish the books I started reading last year and do lots of walking, starting with short ones to begin with. . . . 

Thank you for taking the time to read this blog, please feel free to leave a comment.

Happy new year!

Back home: final w0budong pics

This week has flown by; I arrived back from Manchester on Monday and have been busy with various appointments and more workmen in the house.

w0budong came down last Sunday.  It was a brilliant experience;  I so enjoyed meeting and talking to the other artists about our work, being artists, artists' spaces, studying and more.  The exhibition looked very good:

Jayne's performance:

The space looked great; quite industrial it is an empty retail unit. the marks on ceiling, walls and floor added to the whole experience, reflecting the quality of the work installed in there.

Above, below: Clare Smith

Julie Brixey-Williams

Clare Smith

 Table containing drawings, artists' books and cards

 Jayne's drawings based on the gestural action of making a letter "a"

Clare Smith

 Left to right: Catherine Wynne-Paton, Sue Gough, Julie Brixey Williams, Jayne Lloyd (curator) and Clare Smith

Piccadilly Place, Manchester

w0budong: Installation Complete and Jayne's Performance

A few visitors yesterday.  Jayne completed her piece with the performance early in the afternoon, so the exhibition is ready for expected visitors to tonight's PV.  If anyone is in the Piccadilly area, Manchester do please pay us a visit - 3 Piccadilly Place.  All are welcome!

Artists: 

Jayne Lloyd: http://www.jayne-lloyd-artist.co.uk/

Clare Smith: http://www.studio308ltd.co.uk/

Julie Brixey-Williams: http://www.juliebrixey-williams.co.uk/

Catherine Wynne-Paton: http://www.blipfoto.com/entry/3480837

Sue Gough: albums of work and work in progress can also be seen on my facebook page: http://www.facebook.com/SueGoughArtist

w0budong

I am gearing up for w0budong.  My trusty friend, curator and printmaker Andrew Dalton has kindly offered to drive the van, I was lucky enough to receive expenses that cover almost all of the costs so I can afford to pay him to do it!

Here is the flyer, with information about opening times and events:

This time next week I will be on my way to Manchester in a van containing:

• my large painting 
• some drawings
• a trestle table 
• two chairs 
• Four breeze blocks, painted white for said painting to stand on
• a step ladder
• a folding table for drinks with tablecloth
• an extension cable 
• plus my suitcase. 

As you do!

I am really looking forward to meeting the other artists and seeing all the work together along with Jayne's performance piece.

Opening of RAW's first exhibition in York

Our first exhibition beyond Ryedale's boundary opened last night.  Sue Slack and David Stephenson were selected from the Ryedale ArtWorks Directory by the gallery owner Issy and her colleagues.  It is interesting that they selected Sue and David, not knowing they are partners!  Their art really does work well together.

Congratulations to Sue and David for pulling all the work together at what was really short notice, two weeks, if my memory serves me correctly.  It all looks good in what is a small and perfectly formed space. The hanging system is simple and effective and the lighting is excellent; not something you can say about many venues.

Priestleys really understand the importance of presentation too; the banners designed in collaboration between Rob Oldfield for Priestleys and Andy Dalton for RAW, work very well, signposting visitors from the outside of the shop right through to the downstairs space.  They look very good:

I think that this collaboration between RAW and The White Gallery @ Priestleys No. 36 is going to be a happy one.  And I bought the mirror; I know Pete will love its Art Nouveau influenced styling.

Sue and David finishing off the labelling, the mirror 's Art Nouveau styling (left) is enhanced by copper rivets, which I think really enhances the piece.

www.ryedaleartworks.com

https://www.facebook.com/thewhiteroom36

http://www.priestleys-york.co.uk/

First Mail Chimp Newsletter and W0budong

I have taken hours to get to grip with the Mail Chimp thingy, and still, the newsletter does not appear in my own inbox!  Why is that, I wonder, does anyone have the answer to this?  If you do, please post me a comment or email me, I would be very grateful.

So, here is the link to my first ever newsletter:
http://us3.campaign-archive1.com/?u=e68158867b624b5f4d8fea661&id=6c40fd1575

Let me know what you think!



I have put the notification about the upcoming show in Manchester in the newsletter, but I shall repeat it here because I am so excited about it!

http://w0budong.wordpress.com/  is the link to a website featuring the participants, artists Jayne Lloyd, Catherine Wynne-Patton, Claire Smith, Julie Brixey-Williams and Sue Gough.  During the next few months we shall be blogging/discussing ideas relating to the work and the exhibition on the site, the culmination of which will be the exhibition in Piccadilly Place, Manchester.  (details below)

The title, W0budong, is a phonetic translation of ‘I don’t understand’ in Mandarin, which I just love.  It reminds me of the title of the artists group I was part of, " Ennoia", meaning  "a thought before it is fully formed", taken from a Greek word if my memory serves me correctly.

The show is being held at:

Three Piccadilly Place, Manchester M1 3BN on 10th - 16th March 2014

http://www.piccadillyplace.co.uk/retail/getting-here.

The work by the other artists looks amazing from the photos on the web site; I am really looking forward to seeing it all properly and meeting them in the real world rather than the virtual one. Happy days!

Art Connections web site, an old pine cupboard and a new opportunity

My page on the Art Connections web site has finally gone live.

http://www.art-connections.org.uk/sue-gough/ 

I think they are still working on the site though as Andy Black's work is being used as the thumbnails for the drawing and illustration categories, but his page is not there.   It is beginning to look very good though and I am pleased to have been accepted and placed amongst the other artists represented there.

Art Connections is part of Chrysalis Arts, an organisation that supports artists in Yorkshire, although they rarely seem to reach to the Eastern region of Yorkshire, which is something I think they are working on at the moment.  Their work at the moment seems mainly focused on the western areas of the county.   http://www.chrysalisarts.org.uk/

At the last meeting of Ryedale ArtWorks, a member asked me what I was working on at the moment.  I said "a cupboard", which startled them, to say the least and made us both giggle.  While all the building work is going on at home, it is proving extremely difficult to make work, so at least I am making good use of my time.  I am indeed working on a huge old pine cupboard, which I bought earlier in the year.  It is heavily and badly shellacked, and I had been dreading painting it until I discovered chalk paint by Annie Sloan.  I know, I am sounding like one of those crafting moms on YouTube now!  This paint is making the transformation of my cupboard so easy that I cannot begin to tell anyone who reads this how thoroughly excited and absorbed I am.  I am painting it with two colours, which then have to be sealed with clear wax to protect and seal the paint over which I am altering the colour with dark wax.  I am a painter, so the blending of colours has come quite naturally to me and I am really enjoying the process of bringing the cupboard back to life.  And, if I decide I am not happy with the colours after all, I can just repaint it!  Here are a couple of photos showing the stages of painting and waxing I am undertaking:

This is what the whole of the cupboard is like, with its heavy dark brown varnish.  I removed the knobs on 2 sets of drawers as they were ugly, mismatched ones.  I need to source some replacements now.

Showing the three stages of paint and wax application.  The inside of the cupboard and drawers in Scandinavian Pink, I mixed Old White and Duck Egg Blue to make a blue grey which goes over the pink and when the surface is distressed a little, the pink shows through, and yes, I did also paint the drawer sides on the outside!  The drawer on the top shows how the colour is altered with the dark wax.

The reason I have digressed with this happy tale is because I am trying to set the scene of me, working away on the cupboard in my kitchen singing along to Minster radio with the builders, who are just through the new opening, working away, or upstairs sorting out plumbing, with brief stops for tea and lunch.  After a long day of painting and waxing, (the waxing part is really hard work, but it has kept me warm), I sat down on Tuesday evening to check my emails.  One, from Jayne Lloyd caught my eye as it had "exhibition" and "participate" in the title, although I could not at that moment place Jayne.

Imagine my delight when, on reading it, I realised it was the Jayne Lloyd with whom I had conversed via our a-n Artists Talking web site, and she was offering me the opportunity to participate in an exhibition that she is curating as part of her Chinese project, to be held in Manchester!  I felt a bit sick, but in a good way!  The exhibition is taking place in an emtpy office building, close to the railway station and is in effect, a "pop up".  I am looking forward to meeting the other artists involved.  Jane has requested one of my large paintings, so I shall have to make sure I sort out the transport.  The exhibition takes place in Feb/March.  It is such a good feeling to have another show on the way.  We have been discussing how we can present the work because we are not allowed to drill holes in the walls.  At the moment, the plan is to paint breeze blocks white and rest the painting on those, leaning it against the wall, which will look fine and I happen to have a supply of said blocks in my garden at the moment.

The theme of the exhibition is artists who have visited and or been influenced by Chinese script.  I cannot wait!  It proves that social networking is a valuable tool in the development of an artists' career; if I had not started my a-n blog, read Jayne's own blog and contacted her, which led to her looking at my paintings on my facebook page, this opportunity would never have arisen.  I like the Artists Talking site; it is a fantastic community to belong to, with access to the insights of hundreds of artists.  http://www.a-n.co.uk/artists_talking/projects/myProjects

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Publicity

COME see me on Wednesday 10th April, 4 - 7.30pm!  I'll feed you fine wine and cake!