The picture above is of my painting exhibited in ‘The Gallery’ of the West Buckland Festival
I very rarely get inspired to paint these days but I saw a painting by Renoir entitled ‘Onions’ at the Royal academy last week and decided to give it a go.
My painting ‘Onions’ is nothing like the Renior but… The skin of the red onions were iridescent like the back of a beetle, shimmering and layered in colour.
The image above is a drawing I did in 1978, which is part lithograph and part sketch in oils. It is now part of an exhibition in the coastal town of Ilfracombe.
Over this weekend, in the Landmark Pavilion, Sea Ilfracombe will be hosting a major event, which will include exhibitions from professional artists, as well as artwork from Ilfracombe’s schools and community college.
- Damien Hirst’s giant pregnant woman to hit Ilfracombe (telegraph.co.uk)
- #Paintings 2007 – #Allergy These two paintings above were exhibited in the exhibition at Landmark Theatre, Ilfracombe, North Devon, UK (3rd September 2007 – 7th October 2007) both images were sold and are in private collections. In many respects I was influenced by the … Continue reading →
The Peggy Guggenheim Collection in Venice (29 February to 6 May 2012) – an exhibition entitled “European Art: 1949-1979/Marion R Taylor: Painting, 1966-2001″.
One of the exhibition’s rooms is dedicated to Marion Richardson Taylor (d. 2010), an American artist (she lived in Europe). The wife of a diplomat, she was known for hosting political figures and intellectuals at her legendary dinner parties. Her artistic styles switched between abstract expressionism, portraits, Cubist still lives (maybe?) and small sized drawings. Taylor constantly had to rethink her art - which gives the viewer of this retrospective the impression that Marion Taylor lacked direction or intellectual conviction in her art – maybe this exhibition underlines that well known fact that it is not what you know but who you know that counts.
The collection in the museum is based on the personal art collection of Peggy Guggenheim, a former wife of artist Max Ernst and a niece of the mining magnate, Solomon R. Guggenheim. She collected the artworks mostly between 1938 and 1946, buying works in Europe “in dizzying succession” as World War II began, and later in America, where she discovered the talent of Jackson Pollock, among others. Works on display include those of prominent Italian futurists and American modernists. Pieces in the collection embrace Cubism, Surrealism and Abstract expressionism. During Peggy Guggenheim’s 30-year residence in Venice, her collection was seen at her home in the Palazzo Venier dei Leoni.
F O O T + N O T E = Easter Eggs
You can only eat so many Easter Eggs and drink so much Coke. Cassette Culture 1989 – 2009 by This Window is still available to download. Cassette Culture was an offshoot of the mail art movement of the 1970s and 1980s… Continue reading →
Ciao – by This Window - Collecting Easter eggs and telephone answer machine messages, a video that has taken 20 years to compile. Audio by This Window Video by Jacob Bright Art Workshops Posted on March 29, 2011 by admin Printmaking … Continue reading →
The derelict painting studios in Exeter College of Art looked smaller than I remember – these were the spaces where I learnt my painting skills and the place where I was told to forget my painting skills. Those were the days when art was promoted as an intuitive process and not a prescriptive target driven qualification.
On the floor below the studio, directly underneath was the library, now devoid of shelves and books. All that information, inspiration and knowledge gone.
The lecture theatre still had its seating but its projection screen was missing. This was the place where I booed lecturers who spewed bullshit and I think I met Sir Terry Frost (?) – the place where I rediscovered Pollock and was seduced by Rothko, learned about Fox Talbot and watched some ridiculous interview reenactments based on articles published in magazines…
Sarah Bennett used this empty vessel to install ‘Institutional Traits (Series 2)’ which comprised of two large printed photographs of the empty lecture theatre. The lighting in the space was (and always was) simple – controlled by two light switches, one that puts the lights on at the back and one that put them on in the front. The two images mounted on the sides of the theatre reflected the lighting options, one was of the lights on in the front and one was with the lights on at the back.
This corridor brought back memories:
In 1977 I was asked to ‘crew’ for a video (in those days the equipment was huge, I had to carry a box the size of a suitcase). The video was of the processes involved in producing meat in a slaughterhouse, I did this for a painter who was creating images based on dead things.
I witnessed the slaughtering of pigs, lambs and beef cattle. The video shoot was over three days and although horrific it was surprising how quickly I adapted to the mass slaughter – the analogies between what I witnessed and the images of Jewish concentration camps during the Second World War were obvious – what I was surprised with was the speed in which such volumes of livestock could be processed.