Thursday, 31 July 2014

Tate St.Ives 'International Exchanges: Modern Art and St Ives 1915–1965' this Summer..

Patrick Heron Long Table with Fruit 1949. Oil paint on canvas 45.7 x 91.4cm
© Estate of Patrick Heron. All Rights Reserved, DACS 2014
Tate St.Ives amongst their celebrations of its 25th birthday and the extension work being carried out, are showing an ambitious exhibition this Summer: 'International Exchanges: Modern Art and St.Ives 1915-1965.' The show includes work by Kandinsky, Mondrian, Gris , de Stael and Sam Francis, amongst others.

This is an excellent exhibition on the significance of Cornish modernist artists and their international network of artists that came and went or corresponded with them in the early 20th Century. Artists such William Scott, Patrick Heron as well as the older generation such as Nicholson and Hepworth were part of a generation that had spent time in Paris and Europe making friends and collaborating.


Nicolas de Staël Coin d’Atelier Fond Bleu 1955 Oil on canvas, 1950 x 1140mm
© Estate of Nicolas de Staël, private collection
 
Sam Francis Painting 1957 Watercolour on paper
support: 629 x 486 mm Purchased 1957© Estate of Sam Francis/ ARS, NY & DACS, London 2002

 
So take the camper van down to the West coast of Cornwall and check out the show and be inspired this Summer!
International Exchanges: Modern Art and St Ives 1915-65, Tate St Ives, 17 May - 28 September 2014, then touring to mima, Middlesbrough, October - January 2015. The project is led by Chris Stephens, curator of modern British art, Tate Britain, and curated by Sara Matson, curator, Tate St Ives, and Rachel Smith, doctoral student, Tate Research Centre for Creative Communities.

There is also a very interesting article, 'Abstraction sans Frontieres' by Éric de Chassey, who is an art historian, professor of contemporary art history at the École Normale Supérieure in Lyons and director of the French Academy in Rome - Villa Medici on the Tate St.Ives website and in Tate Etc magazine on the artists in the show and their significance at the time..
 
Artist William Green using his bicycle tyres to spread liquid paraffin and black bitumen into the surface of the canvas, filmed in his London studio for Pathé News 1957
 

Joan Mitchell, 'Trees' at Cheim & Read Gallery, London

Cheim & Read, in cooperation with the Joan Mitchell Foundation, are exhibiting a series of paintings entitled, 'Trees'. this is a great selection of works from drawings to medium and large sized paintings from her more mature period of work from 1961-1991.


The press release states: 'the paintings in this exhibition are inspired by the form and structure of trees. Known for her expressionistic, visceral explorations of the natural landscape, Mitchell abstracted tree-forms throughout her career, from the richly-hued, interlacing branches of Hemlock, 1956 (Collection Whitney Museum of American Art) to the thick, rectangular-trunked grove in 'Trees', 1990-91. The paintings bristle with energy and emotion; her staccato brushwork, rich color palette and pervading sense of light and composition are at once elegant and rebellious.'


It continues: 'Though rooted in Abstract Expressionism (she was one of the few successful female painters of the New York School), Mitchell’s work redefines the parameters of gestural abstraction. As Yau notes in his catalogue essay, her works are characterized not by a stream-of-conscious, chance assembly of paint-loaded brushstrokes, but by a precise and thoughtful construction which in turn fosters “animated eloquence”:
 
“For Mitchell…rigor and expressiveness are not mutually exclusive activities.” In many ways, a tree’s inherent structure is analogous to the way in which Mitchell composes her paintings: beginning from an anchored core, her physical gestures create an armature of rhythmic potential, allowing for an expressive lyricism that attempts to, as she says, “define a feeling.” Mitchell succeeds in capturing not only nature’s various visual effects, but also its essence of “being alive.” In 1959, Mitchell moved to France and lived there for the last three decades of her life. The region’s distinctive light, color and atmosphere not only rewarded her sensitivity to the natural world, but also connected her work to a long history of plein air painting. Van Gogh’s charged, vibrating brushstroke and Cezanne’s fusion of mark-making and color greatly informed her practice, as did the structured surfaces and divided forms of Mondrian’s tree paintings.'
 

 
These are great visceral works that show a strong body of work developed by an American painter steeped in Abstract Expressionistic energy and yet these works are made and were very much appreciated and exhibited in France, where she spent much of her time from the early sixties onwards, and it is because she lived in France that they suggest a more subtle and sensitive use of colour and brush work, showing an understanding of European painting and abstraction. There is a video of the show here.

 

Wednesday, 23 July 2014

Technical notice

I apologise because a couple of weeks ago we dropped off the internet horizon, Abstraktion was abstracted from the web and it has taken me this long to get the problem sorted! I am more at home with paint than IT however we are back and hopefully visible to all again. If you have any problems viewing our site please get in touch. Thanks for your patience and ongoing support.

Thursday, 17 July 2014

Remi Rough at Soze gallery, Hollywood.

Remi Rough: Further Adventures in Abstraction at the Soze gallery West Hollywood from July 19th - 19th August.

"Remi Rough has gradually evolved into one of the UK’s leading ‘post-graffiti’ abstract painters. In this, his most colourful and complete body of work, Remi has created over 50 new pieces on paper, wood, and canvas that strengthen his resolve within the discipline of abstract painting."
"Remi Rough has been represented by Soze since the beginning, so we figured there was no better way to commemorate this new location than to bring him back to LA for another knock out show."

"Everything needs to get to a point where it abstracts to an extent… Music, art, even relationship." Remi Rough


Overate
Neon Neon
There you go Remi.