Thursday, 13 September 2012

Frank Bowling interview, Tate Britain, London

Frank Bowling is one of the enigmatic post war generation of artists along with John Hoyland, who have brough back to British art the openness of Abstract Expressionism and suggested other forms and paths abstraction can take, at atime when we needed to expand ideas and processes in the 1960's. This is an interview with Tate Britain, London in 2012. To explore more see Focus: Frank Bowling.

He is giving a Talk at Tate on 12th October, 2012 at Tate Britain Auditorium.

Here is a transcript:
'In my youth I tended to look at the tragic side of human behaviour and try and reflect that in my work, but gradually as I became more involved in the making of paintings, I realised that one of the main ingredients in making paintings was colour and geometry. And I found that this was the place that I felt the most comfortable. I have been going along that track ever since.
At about the time that I left to go and live in New York, the concerns with colour deepened, and in New York I found ways of proceeding to deepen my investigations in that area. And what I found in New York made me feel that this was a place where the energy and the drive was. And then, by sheer chance, the map shapes appeared whilst I was in Hotel Chelsea so I started painting maps of South America and Guyana, and then I decided that I would do the entire flat map as a motif to work with. I just found the shapes and graphics suggested in maps very engaging.
From there I moved towards making a kind of colour field geometrical colour painting, which was before the poured painting.
New York was very much the place where it was all happening, and Pouring was just one aspect. It was spilling, dripping, rushing… It’s a process of a ground all over, the canvas tacked to the wall, the pouring and throwing and spilling and dripping takes place, then the material is allowed to settle, and once it starts drying you sort of pull it back up the wall, so that it can be completely dried out.
It all happens very much in an extempore way. You know, I mean, I don’t have any pre-planned idea about how I’m going to make a painting.
The whole thing about naming of works of my friends has always been with me. It’s kind of like keeping a diary. I’m reminded by the naming of lives spent intensely, sometimes joyously, but you know, just lived, and the naming is really to do…it was a kind of diary that when I go back I can, not so much relive the experience, but have the tremor of knowing that that experience existed.'

Friday, 7 September 2012

Interventions at Palais de Tokyo, Paris until 2013

Ulla von Brandenburg, 'Death of a King', 2012 (yes, it's an abstract skateboard ramp)
This was a great show and would be good to see such an intervention taking place in a central  London space and gallery..
Interventions at Palais de Tokyo   Date: 04.20.2012 - 03.31.2013

Windows, staircases, walls main agora, domes, long corridors, signage, are invested by artists and made ​​visible from the exterior of the building, activity, inspiring presence, intensity of interventions major artists . These commands are repeated every 12 to 18 months. they are the subject of consultations with various groups around the Palace: Association of Friends, members of the Tokyo Art Club, etc.., who can choose from presets offered by the curatorial team and participate in the financial effort required for these interventions.
Maria Loboda, 'Wall Drawing', arsenic, cyanide, mercury, lead, 2009-10

Julien Bastard, 'Steller Cave', 2012
Vincent Ganivet, 'Round Smoke' 2012 

Ron Ehrlich, 'White Light' at Stephen Haller Gallery, New York

The Stephen Haller Gallery presents an exhibition of dynamic new paintings by Ron Ehrlich: White Light. Described by art critic Dominique Nahas as “startling in their boldness and directness and surprising in their infinite subtleties,” Ehrlich’s paintings reveal a rare level of skill and a complex methodology.

Even though his work is a bit old school, macho Abstract Expressionism, Ehrlich tackles his paintings with a contrasting muscularity and intellectual vigor. His provocative and intense personality is evident in the vitality of this new body of work.

Best known as a pyrotechnical colourist wielding a blowtorch among other techniques, Ehrlich sees this new series of paintings as a natural evolution. He says he has always wanted to create a metaphor for freedom, and this series is an attempt to get rid of more constraints – to “blow off the edges of the work.”

This new series is a focused exploration of the use of white in his palette and a new sense of color relationships. Ehrlich says he is exploring the light that comes off a white painting in contrast to the light of a dark painting as in the dark backgrounds of a Rembrandt painting for example.
Ron Ehrlich, Lace 2011
Oil, mixed media on panel
70 x 80 inches
# RE11-066


Anne Commet at Galerie Du Crous de Paris, St.Germaine, Paris

Anne Commet, Ties VI and VII
195x130 and 73x60,Oil on painting, 2012
Came across the paintings of the French artist, Anne Commet, who has a new show of paintings at Galerie Du Crous de Paris, (the Gallery Crous Paris 11, rue des Beaux-Arts, 75006, Paris) from 27th September 2012. These new works that have a lightness of touch show a real sensitive handling of oil paint on canvas.

'Anne Commet works on perception and allusion. If what surrounds her - the world, nature, music - is the starting point, her work is an emotional interpretation of it. Her large formats lead us into a physical experience of sensation and landscape.'
Anne Commet, I think,
2011 - 195X13, oil on canvas, 2012

25 September to 6 October 2012, Gallery CROUS Paris - solo exhibition, 11 rue des Beaux Arts, Paris VI from Monday to Saturday from 11h to 19h - Odéon, Saint-Germain-des-Prés, Mabillon. 22 September to 13 October 2012. Selection of New Realities, Out of the walls - Moulins de Villandry
and at..
Pont de Claix, 10 November to 2 December 2012, South Lyon East Fair - Exhibition Centre, 18-20 quai de Bondy , Lyon. Opening Saturday, November 10th from 16h to 21h, 27 November to 2 December 2012. Comparisons - Second Reality Group, Anne Moser - Grand Palais, Paris.