There are books that bring new perspectives to painting and the lives / methodologies of artists. Unfortunately Francis Bacon and Nazi Propaganda brings nothing new to the party.
The work and times of Francis Bacon are well documented. The use and origins of Bacon’s source material are well-known, some of which are even preserved. This book is a shortcut, a narrow, tunnel visioned, easy access pass to the imagery that helped to inspire his art – a snapshot and lightweight introduction from a contemporary point of view.
This over emphasis on Nazi imagery is an attempt by the author to shock and imply a tenuous connection between Bacon and the Nazi regime. This book clouds the issue of how artists draw inspiration from the sources around them. These images of Nazi propaganda were (probably) simply metaphors for violence, death and persecution – had Hitler conquered Britain Bacon’s legacy would not exist. They still are powerful photographic and graphic images that send a shudder down your spine but they were only a part of Bacon’s bigger picture.
Does one methodology fit all? – painting is more complicated than that.
It would make more sense to see some of the imagery for yourself. BOZAR fine arts museum in Brussels has an exhibition of Bacon bits. The contents from his studio are part of a show running until May 2013. “Changing States: Contemporary Irish Art & Francis Bacon’s Studio”includes photographs of friends and lovers, medical books, wildlife and sport are jumbled together with classical references and artists monographs as well as unfinished paintings.
The paintings of Francis Bacon have always stood out in the crowded museums and galleries that are stuffed full of mediocre British paintings. Daniel Farson gives a personal view of his (if only in his own mind) ‘friend’s’ chaotic debauched … Continue reading →
The problems of fragmentation and confusion that exist within more traditional art practices, such as painting and sculpture (in the broadest possible milieu) are mirrored in new art practices. Within these technological and new media categories, diverse concepts and imagery has been lumped together to form a hodgepodge of non-related methodologies and artworks.
What is this direction?
The meshing together of processes, unrelated imagery and the breaking down of barriers cannot be seen as a shortcut to intellectual credibility. The dedicated thought process that goes with the creative procedure should be one of intense reasoning. It is therefore unrealistic to expect the uneducated masses to use the computers prescriptive decision making to create ‘real art’. The birth of Photoshop has enabled everybody to create ‘non-intellectual’ versions of Rauschenberg (and Warhol) – this is not ART.
I am an old dinosaur – I am very confused. What is painting? wp.me/p1GVNQ-3T Leave a comment on the page and set me on the right course
— Peter Bright (@thiswindow)
Contemporary artists have extended the boundaries of painting considerably to include; collage, different materials such as sand, cement, straw or wood for their texture. Juxtaposing images and materials, either as a collage, printing or painting is not simply a decorative … Continue reading ?
Taking photographs with a film camera again reminded me of the simple pleasures I had messing about with making images in a darkroom – it is a shame I have become so uninspired.
There is something a bit odd now about not wanting my photographs instantly. The anticipation of developing them or collecting hard copies from a processing store is now exciting. The instant gratification of a digital image is somehow disappointing. Which is bizarre because 30 years ago I dreamed of instant quality.
I loaded the Pentax SP500 camera I got off eBay yesterday with a colour film (200 asa) and took a few shots in and around my home, experimenting with different lenses. The clearest shots were achieved with the original Takumar 1:2/55mm … Continue reading →
My friends and clients are always shocked when I suddenly present (in front of them) a ‘painting from life’ – just because I appear to produce slap-dash imagery as my main artistic process and thrust doesn’t mean I haven’t mastered the basic fundamental skills of ‘traditional’ painting and drawing.
Artists and teachers have argued for years that to fully understand the processes required in creating non-representational art, a knowledge of basic representational tricks is vital – to be able to imitate the real world is useful when trying to turn your back on it.
One of my still life paintings hanging on a wall in Worcestershire.
Oil paint on paper – 20″ x 16″
Representation is the use of signs that stand in for and take the place of something else. It is through representation that people organize the world and reality through the act of naming its elements. Signs are arranged in order to form semantic constructions and express relations.
For many philosophers, both ancient and modern, man is regarded as the “representational animal” or homo symbolicum, the creature whose distinct character is the creation and the manipulation of signs – things that “stand for” or “take the place of” something else.
Due to exhibition and gallery comitments the prices of Peter Bright’s paintings and printmaking pieces have had to increase on MorgueGallery.com
Original painting by Peter Bright.
Media: Painting and Screen Print on canvas, signed and dated.
Price includes frame.
Size: 403mm x 503mm
“Allergy #11″ was started in November 2003 and completed in April 2011. This painting was originally created for a solo exhibition in The Queen’s Theatre during 2003 but was not exhibited due to lack of wall space.
1978: I once had a girlfriend called Anne who wore ‘Charlie’ perfume. Every time we came close I sneezed. This was not conducive to a passionate affair. Her ‘big’ permed hair and ‘page three’ figure was always out of reach, until we discovered I was allergic to her bottled smell….later we discovered I was allergic to latex.
It is really difficult to get your name and art out there on the web – it appears that the only way forward is to get links on high ranking sites.
For 3 years now I have had a blog that promotes Art and Music called SystemCulture.org which has been promoting the independent artist and musician.
Why not promote your MUSIC or ART for FREE on this blog by becoming a guest blogger. All you have to do is paste this code WP1917 into the form after your name and type in your promotional text and press send.Form Here
Young men from opposing political viewpoints expand scientific and exploration boundaries for political kudos – but they were exciting times. Bring back the cold war – the world was a safer place and more interesting.
The Cold War was the period of history from roughly between 1946 and 1991 of political conflict, military tension, proxy wars, and economic competition between the Communist World—primarily the Soviet Union and its satellite states and allies—and the powers of the Western world, primarily the United States and its allies. Although the chief military forces never engaged in a major battle with each other, they expressed the conflict through military coalitions, strategic conventional force deployments, extensive aid to states deemed vulnerable, proxy wars, espionage, propaganda, conventional and nuclear arms races, appeals to neutral nations, rivalry at sports events, and technological competitions such as the Space Race.
The political and ideological polarity of Russia and the USA during the cold war (retrospectively) makes an interesting starting point for a new project. Apparently there are rumors that the early days of the Russian space program were not only motivated by military and scientific advancement but a search for a new world to populate – to put citizens of the Russian Republic on once they had realized their ambitions of ensuring immortality. There was no God in Russia (officially) and the USA put their trust in God, both were chasing the same dreams, immortality and history. Gagarin achieved both by becoming a God (hero) in his own country and the rest of the world – all gods die young.
As an 11 year old I watched the first moon landing in 1969. I was mad about everything to do with space travel, I would read anything that was about rockets, cosmonauts and astronauts. Later in my life I shook the hand of a man who shook the hand of my all time hero Yuri Alekseyevich Gagarin, that was for me like touching history, if only secondhand (excuse the pun).
I was rummaging through old boxes of stuff and found the newspaper cutting of an astronaut on the moon – yellowed and faded – it still makes my heart flutter. I wish I’d been to the moon.
It has been the fashion in recent years for businesses to abandonn direct mail (using the traditional postal mailing service) in favour of online marketing and email campaigns. Companies are however returning to this marketing tool and being more creative using shaped flyers. These not only get the recipents interest, but some businesses are doubling response rates with these shaped mail drops.
Companies that attempt to generate sales entirely through indiscriminate direct mail, cold calling or email campaigns are going to find the going tough. Unique leads for your niche market are the best leads and by targeting the people who really need your product you stand a better chance of getting the positive response you require. It is important to know who your clients are.
Mailart in many respects pushes the boundaries of what can be considered art, it has a surreal or Dada quality about it. Mail art sometimes reaches the mainstream gallery audiences but never really reaches the greater highs.
Mail art is a worldwide art and music movement that began in the early 1960s. the principle is simple you send visual art (but also music, sound art, poetry, etc.) through the international postal system. Mail Art is sometimes known as Postal Art or Correspondence Art. Mail Art is a network, based on the principles of barter and equal one-to-one collaboration.
After a peak in popularity in the late 1980s and early 1990s, the Mail Art phenomenon has gradually migrated to the Internet, whose “social networks” were largely anticipated and predicted by the interactive processes of postal collaborations. Nevertheless, Mail Art is still practiced by a loose planetary community involving thousands of mailartists from the most varied backgrounds.
Another postcard to Hungary and visits to other places
Road trips, journeys, and speed inspire. The image below was taken on a road trip I did in 2007, with stays in Brussels, Zurich (it was going to be Prague – but the German authorities banned us from their country on the outward journey) Zagreb, Munich, Ipers. Going through France, Belgium, Luxemburg, Switzerland, Austria, Slovenia, Croatia and Germany. We did this in six days. Click on the image for more photographs of our ‘Cannonball’ journey.
They say that wine matures with age and without doubt the later paintings of Gerhard Richter are his finest. His ability to travel through art history and create and respond to his own history is remarkable. To learn skills and then have the confidence to morph them into another methodology is a difficult thing to do. The paintings Cage (1) – (6) 2006 are without doubt in my top 10 list.
At the weekend, I went to the Gerhard Richter exhibition at Tate Modern. I was blown away, not only by the richness and variation of his work, but also his methodology: sometimes planned and ordered, sometimes random – sometimes both. It made me think long and hard about the way I write, and it occurred to me that the one quality all his work had, however it was generated, was confidence. Here is a man who knows what he is capable of and who is not afraid to experiment and take risks, but at the same time is very definite about what he has to say. Whatever image he ends up with, his voice is always loud and clear. It made me realise that confidence is the most important item in the writer’s toolbox. With confidence, you can write what you like and how you like, instead of slavishly following a formula. Confidence, of course, comes with experience, but the danger there is that one becomes complacent instead of pushing the boundaries. Something that Richter was clearly never afraid to do. And that is when genius emerges: when talent and confidence and craft combine with risk.