Finding Joy in Subtlety

By Clint Cline   Artist: Clint Cline Clint Cline is a Florida-based iPhonic artist. He is also a writer and designer and has worked in visual communications since 1973. His ...

Stories and Faces

by Nicola Paton   Artist: Nicola Paton My name is Nicola Paton and I’m from Birmingham in the UK. I re-found my passion for creating pieces of artwork eight years ...

From Nothing, Mainly.

by Marc Jason Day   Painter: Marc Jason Day Painted works on A1 paper – using Rotring Ink, Charcoal Sticks, Posca Pens, Acrylics, Glazes, Chalk Pens, Anarchism, Alternative History, Hidden ...

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Finding Joy in Subtlety

By Clint Cline

Ellipticae

Pythagoras Smiling

Flight of Thought

Le Rendezvous

The Man Who Spoke Riddles In Rhyme

Quarter to Three

That’s How I Feel

Tension

PinballWizard

Elohim | The creation of thought

Fresh | Fenced

I Had A Green Box

And then again

The Cleric

 

Artist: Clint Cline

Clint Cline is a Florida-based iPhonic artist. He is also a writer and designer and has worked in visual communications since 1973.

His work variously explores the abstract and surreal co-mingled with fine art images and graphic interpretations of both contemporary and timeless themes that explore the interrelation of culture and faith.

His exhibitions include: Exposition d’Iphonographie in Venarey, France (Jury Award); Worldwide iPhoneography Art Movement (WiAM), Naples, Italy; SoHo Gallery of Digital Design, New York City, New York; LA Mobile Arts Festival, Los Angeles; “Lens as Palette” Exhibition, Denver; and #MOBIU1023 Experience, Chicago.

Cline’s work has been recognized for excellence within the iPhoneography community, most notably with a notation of excellence as a finalist in the IPA Mobile Art Grant Awards and as a Founders Choice Honorable Mention in the Mobile Photography Awards. His body of work has been featured at WeAreJuxt.com and at iArtChronicles.com. His work is also featured regularly at P1xels.com, a leading iphonic art site, and been selected in weekly features at LifeInLoFi’s Faved on Flickr, iPhoneogenic.com, iPhoneographyCentral.com, and at theAppWhisperer.com.

Cline is a founding artist with The International iPhoneography Group (TIiG) and NEM: The New Era Museum.

Flickr
https://www.flickr.com/photos/clix2020/

FaceBook
https://www.facebook.com/clint.cline.IP

Instagram
https://www.instagram.com/clixit2020/

 

 

 

Stories and Faces

by Nicola Paton

Amy Winehouse

Dead eyes, inspired by Giles Duley photography

Snoop Dog

The Poodle, inspired by Tim Flach photography

A gentleman called Allon

Portrait of my brother Richard

Zombie Boy

Tommy the jeweller

Dinos Chapman

The aging process

Ranulph Fiennes

Homeless man inspired by Lee Jeffries

 

Artist: Nicola Paton

My name is Nicola Paton and I’m from Birmingham in the UK.

I re-found my passion for creating pieces of artwork eight years ago and dedicate any available spare time to my hobby, which gives me so much pleasure and fulfilment. My medium is charcoal and pastel, but my true love is charcoal, it allows me to re-create the emotions of the human face and capture the story behind the image. Recently I’ve been enjoying the challenge of experimenting with animal portraits which I intend to introduce more to my art collection.

Being a self taught artist has allowed me to discover my own individual and unique style. My inspiration comes from photographic images which I transform into one off pieces of artwork. My portrait vary from famous to the unknown and take between one to six months for completion. I’m always pushing the boundaries with my art and feel I’m evolving with each piece I create.

https://twitter.com/nikki_paton

http://nikki-paton.wix.com/art#!

http://nikki-art.tumblr.com/

 

 

From Nothing, Mainly.

by Marc Jason Day

All Drills Hit Infinite Oil

Hollow Black Electric Converter Sun

Mugs

Society Is Designed To Take Your Children Away From You And You Don’t Give A Shit

Spirit Cooking With The Clintons

The Delusion That Anything Is Better Than Anything Else

THe Removal Of Hope Is The Only Route To Contentedness

Your Shallows Must Never Threaten My Depths

 

Painter: Marc Jason Day

Painted works on A1 paper
– using Rotring Ink, Charcoal Sticks, Posca Pens, Acrylics, Glazes, Chalk Pens, Anarchism, Alternative History, Hidden Science, Existentialism, Conspiracy Theory, The Gutai Group, Maximalism, (Positive) Nihilism, Arte Povera, Advanced Audio, Chris Ware, Marcel Dzama, Moebius, Stanislav Kolibal, Roberto Bolano, Yukio Mishima, Yasunari Kawabata.

Will be exhibiting at the Cornwall Art Fair in St Ives, Cornwall, UK – 26th-28th May 2017.

http://www.marcjday.com/

https://twitter.com/marcjday

https://www.instagram.com/marcjday/

 

 

Postcolonial Thoughts: Notes on Ellen Gallagher, Part 2… Fragility to Purpose

by Christopher Hutchinson

“Postcolonial Thoughts: Notes on Ellen Gallagher, Part 1” is here.

 

A certain fragility, shading into deliberate feebleness in the case of Elizabeth Peyton and Karen Kilminik, has been quite a trait of US painting in recent years. Ellen Gallagher has it too, if put to a quite different and much more serious end. But her intricate and ever-evolving aesthetic draws too much attention to itself. She has said that her work makes people “uncomfortable”. If only it had that power. –Laura Cumming  https://www.theguardian.com/artanddesign/2013/may/05/ellen-gallagher-axme-tate-review

 

Fragility, Feebleness & Woman

Cumming’s astute inclusion of Elizabeth Peyton and Karen Kilminik is a valid assessment of their work in relation to the current trend by painters to have this feeble aesthetic. It does appear that many women artists subscribe to this to notion of feebleness as representation of ephemerality and womanhood. There are a plethora of artists using this faux “folk-like” attempt at painting and claiming it to be an interest in the act of painting. Whatever the reason, it is ugly.

This ugliness may be the point. These anti-paint painters may be challenging the history of the Western canon by accessing one of the Feminist agendas denying the “object” comparison to women. That is possible. However that would still be an overarching narrative that has nothing to do with paint. That narrative would alleviate the fact that these are ugly paintings.

 

Neo-Primitivism

primitivism

  1. a recurrent theory or belief, as in philosophy or art, that the qualities of primitive or chronologically early cultures are superior to those of contemporary civilization.
  2. the state of being primitive : the primitivism of the Stone Age peoples.3.

the qualities or style characterizing primitive art. http://www.dictionary.com/browse/primitivism

This ugliness is akin to the Primitivism of the past in the west. Those initial primitivisms were interested in how to loosen up the rigid practice of painting. It was just as guilty of this faux primitive ugly aesthetic that went largely unchecked under the banner of investigating and appropriating other cultural practices without being accountable for the cultural authenticity of the work.

This apathetic trend towards painting over the last 30 years is contagious. It aligns itself with disingenuous legacy of primitivism. It also spurs legions of followers who are now identifying this lackluster trend with what it takes to be an artist. These artists then produce generations of students believing this is the type of commitment required to be an artist.

These faux paintings should never have been created in the first place. Why choose to cheat your pursuit as an artist by creating faux objects that requires icons, and narratives to squeak by as a possible art object.

 

Many are called

Why subject yourself to anything other than love? Everything has to feel, smell, taste–and measurements, whatever your rubric–must feel right in art-making process. Regardless of professors, classmates, wives, children, activism and whatever else that may be reasons to compromise that love. It takes time to recognize it, nurture it, and master it. One must hold that love closest to the breast.

Choosing to become an artist means this love is primary. No one has forced anyone to be an artist, painter, sculptor or whatever and one may naturally grow out of one discipline into the next. But to make work simple out of spite for a particular medium or topic is a waste of time. The only possible outcome is betrayal to your being. This trend of continuous cynicism and disdain of mastery in art is an attack at one’s core. These artists like Ellen Gallagher engage in this betrayal.

 

Christopher Hutchinson is an accomplished Jamaican conceptual artist, professor and contributor to the art community as a writer, critic and founder of the nonprofit Smoke School of Art. He is a Professor of Art at Atlanta Metropolitan State College and has been featured as a lecturer including prestigious engagements at University of Alabama and the Auburn Avenue Research Library. For two decades, Chris has been a practicing artist. His works have been exhibited in internationally recognized institutions including City College New York (CUNY) and featured at the world’s leading international galleries such as Art Basel Miami. He has always had an innate passion for creating spaces where Africans and people of African descent contribute to an inclusive contemporary dialogue—ever evolving, not reflexive but pioneering. This requires challenging the rubric of the canon of art history, a systemic space of exclusion for the Other: women and non-Whites, and where necessary he rewrites it. He received his Master of Fine Arts Degree in Painting from Savannah College of Art & Design, Atlanta and his Bachelor of Arts Degree from the University of Alabama in Huntsville, Alabama.

 

 

Platinum Lint

by Ana Bayon

 

Artist: Ana Bayon

Ana Bayon is a Argentine draftsman living New Hope, Pennsylvania. She studied fine arts in Buenos Aires and New York. Her work was recently featured in the contemporary drawing publications  ‘Strokes of Genius – 8’ and in the upcoming ninth edition. Her work was also selected for the book  “Art Journey: Portraits & Figures, The Best of Contemporary Drawing.” Her work is in collections throughout Philadelphia area.

Instagram – @platinumlint

 
 
 

Energetically Painted Silenced Scenes

by Hilde Goossens

 

Artist: Hilde Goossens

I paint characters in waiting rooms or transit zones, and scenes of waiting crowds. My goal is
to paint an impression that insinuates and suggests rather than defines, so the viewer has
the task to search and decide for himself what he or she sees.

My preferred material is acrylic paint, and I really enjoy the process of mixing colors. The
typical process is to dilute my paint with water and add (a) drop(s) of black Chinese ink
rendering toned-down and mostly transparent colors. In my work, I am well aware of the
opaque/transparent properties of the colors, and I use them smartly. However, I have a
strong preference for transparent paint as it gives the opportunity to add many layers and
suggest even more.

Because I love to experiment, I often add collage and photography to my work, but the result
of these experiments always ends as a painting. When I use photography under my paint, it
makes these artworks more realistic, but realism is not what I’m looking for, simplification
and a step towards abstraction is what I’m looking for. When I’m painting, I’m envisioning
that I’m watching a moment of scene with my eyes almost closed so I can remove details but
still capture the essence of the scene and its characters.

Weblinks

 
 
 

From Line to Life

by Gavin Garcia

Ana – oil on canvas


KB Bed


KB with cushion – pen and paper


Life model I – pen on paper


Lying with her – Mono print


Self-portrait


KB II – pencil on paper


Ana portrait – mono print


KB


Drypoint, self-portrait


KB with cat – pencil on paper


Where there used to be a theatre.


Neil Young


Dylan


For Francis

 

Artist: Gavin Garcia

I am an artist and a musician from Gibraltar, living and working in London. Within my work I try to explore the human form through the study of individuals whilst hoping to create images which capture the vulnerability and beauty of people. At times I focus on the surrounding landscape and its encompassing attraction, be it man made or crafted by nature. By drawing, painting and printing I use the strength of line as well the power of colour to create images that hold meaning.

Website: www.gavingarciaart.com

Facebook: https://www.facebook.com/gavingarciaart

Twitter: @gavinkgarcia

Video to recent interview: https://www.facebook.com/gbcthehub/videos/1168111816606273/

 

Postcolonial Thoughts: Notes on Ellen Gallagher, Part 1

by Christopher Hutchinson

 

The American artist Ellen Gallagher is admired to the point of reverence on the other side of the Atlantic. Her distinctive combination of politics and prettiness has been catnip for collectors and critics alike these last 20 years. For the latter, there is always so much to talk about – her range of references from Moby Dick and Sol LeWitt to Black Power and Detroit techno, her trademark restyling of 50s ads and 60s sci-fi movies, her evident if excessively elusive intellectualism – all appealingly couched, to collectors, in the delicate aesthetic of her paintings and prints.

It is worth knowing about this high regard when visiting Gallagher’s retrospective at Tate Modern. It helps to explain the sheer scale of the event: almost 100 works, many of them multi-part, accompanied by a catalogue of eulogies by some of America’s finest art writers, and all kicked off by a gigantic blown-up reprise of Man Ray’s famous photograph of Matisse sketching an odalisque in harem pants on a couch with Gallagher’s own face pasted on to the model and Sigmund Freud in the role of Matisse.https://www.theguardian.com/artanddesign/2013/may/05/ellen-gallagher-axme-tate-review

 

 

Note1-Painter & Videographer

This investigation comes about after an Atlanta,GA based non-profit Smoke School of Art’s weekly homework assignment and is primarily based on the “Brilliant Ideas” video and the well written review of her retrospective by Laura Cummings. Cummings does an excellent job of sifting through the multiple layers of sentiment and projections heaped unto this mediocre artist that validates Gallagher as the “most recognized African American painter since the nineties”. These notes take the well-articulated points by Cummings and the fodder present in Gallagher’s dialogue and points out the inadequacies that are consistent through Gallagher’s career.

Gallagher’s work makes one think fondly on the kitsch-laiden work of Romare Bearden. Once again this cut and paste mediocre practice of collage is proven to be the breeding ground of knick knack collectibles.

The gridded, collaged canvases of Gallagher’s ’90s works deal in eyes and lips borrowed from American minstrelsy, repeated as patterns across canvas http://waaaat.welovead.com/upload/rss_download/20130622/600_0/201306220003272123.jpg

 

The gridded collage above, Gallagher’s breakthrough piece, is an indicator of her true interest which has nothing to do with painting. No painter’s painter would be satisfied with this attempt at painting. Collage does not operate on the interest of painters who enjoy painting. So why does Gallagher retain “reverence” status as a painter? Cummings answers this question with nods to minimalist artists such as Agnes Martin’s still abstract grid paintings. It is a stretch of the imagination to include this comparison as valid because the success of Martin’s work is due to the primacy of paint. Martin would never cut and paste these transitions.

That distinction may not seem like much of a distinction but Martin never felt the need to move to the violent act of cutting a canvas to apply such a coarse transition as Gallagher. When an artist feels the need to abandon the primacy of a medium to plop down texture it is an indicator of lack of mastery. It is an indicator of an obvious inadequacy. This inadequacy then begs to be overlooked relying heavily on sentiment and the projection of others to overcome it. Without mentioning “minstrels” are these paintings good? No.

 

Minimalism

  1. A school of abstract painting and sculpture that emphasizes extreme simplification of form, as by the use of basic shapes and monochromatic palettes of primary colors, objectivity, and anonymity of style. Also called ABC art, minimal art, reductivism, rejective art.
  2. Use of the fewest and barest essentials or elements, as in the arts, literature, or design.
  3. Music A style of music marked by extreme simplification of rhythms, patterns, and harmonies, prolonged chordal or melodic repetitions, and often a trancelike effect. http://www.thefreedictionary.com/Minimalist+art

Gallagher’s rough application is an aversion to minimalist practice, an aversion to Martin, Lewitt, and many others. Again, this comparison to these amount to nothing more than name dropping to force a conversation that is not there. Minimalist seeks to reduce and subtract mediums and ideas to its purest form. Gallagher’s laborious, often clumsy steps, amount to a contrived additive process where emphasis is placed on the quantity of labor not an interest in a stringent pursuit in her praxis.

Note 2.5-sentiment

Prior knowledge for this show. An entire gallery, for instance, is hung with numerous editions of what appear to be pretty much the same work: sheets of lined exercise paper glued to canvases, sometimes lacquered, sometimes painted fetching colours and sometimes featuring racial caricatures of big lips and bug-eyes. These mouths and eyes are always tiny and sometimes so faint as to be spectral, which carries its own meaning. Gallagher describes them as “the disembodied ephemera of minstrelsy”.https://www.theguardian.com/artanddesign/2013/may/05/ellen-gallagher-axme-tate-review

Cumming’s articulates the above observation of Gallagher’s well. If Gallagher’s work requires prior knowledge of all sorts turns out to be a requisite to be received, then how can she be a great artist? A great resource maybe, like the Dewey decimal system–a way to access library books on several unrelated topics that have minute correlations to each other. Research should be a prominent part of every artist’s practice, but if it is a requirement for the viewer to do the same then that artist has not communicated properly, or it so generic and populous that everyone can create their own narrative. The sprinkling of buzzwords that are racially charged with advertising amounts those unimaginative juxtapositions of surrealists who exploited the indigenous primitive imagery to access their subconscious. This type of practice is just lazy.

 

This essay continues next month with “Postcolonial Thoughts: Notes on Ellen Gallagher, Part 2.”

 

Christopher Hutchinson is an accomplished Jamaican conceptual artist, professor and contributor to the art community as a writer, critic and founder of the nonprofit Smoke School of Art. He is a Professor of Art at Atlanta Metropolitan State College and has been featured as a lecturer including prestigious engagements at University of Alabama and the Auburn Avenue Research Library. For two decades, Chris has been a practicing artist. His works have been exhibited in internationally recognized institutions including City College New York (CUNY) and featured at the world’s leading international galleries such as Art Basel Miami. He has always had an innate passion for creating spaces where Africans and people of African descent contribute to an inclusive contemporary dialogue—ever evolving, not reflexive but pioneering. This requires challenging the rubric of the canon of art history, a systemic space of exclusion for the Other: women and non-Whites, and where necessary he rewrites it. He received his Master of Fine Arts Degree in Painting from Savannah College of Art & Design, Atlanta and his Bachelor of Arts Degree from the University of Alabama in Huntsville, Alabama.

 

 

Abstract Freedom

by Petra Lea

Waterfall

Silence Again

Enchanted Forest

The Ascent

Substratum

Still Life With Glass

Blind Ambition

Sight Unseen

 

Artist: Petra Lea

I am a professional artist based in the UK at The Electric Picture House Artists Cooperative. I exhibit throughout the UK and USA including New York, London and Oxford. My artworks are housed in collections in the UK and USA. I have also had my artwork published in magazines, including Rapsodia Independent Literary Review based in Italy and Capitol No in Switzerland.

I am a member of Collagistes Collective, an international group of collage artists. I am represented by The August Agency in New York and the Artbank in China.

I participate in an average of ten exhibitions per year, these include group and solo exhibitions.

Weblinks:

http://lelu-designs.mysupadupa.com/

Social Media:

https://www.facebook.com/petraleaart/

https://www.instagram.com/petralea_art/

https://twitter.com/PetraLeaArt

 

 

A Foot in Two Worlds

by Lynn Price

‘Pages of a Landscape’. 2017 Paper, stitch installation.

Pages of a Landscape paper stitch installation 1

Pages of a Landscape paper stitch installation 2

Pages of a Landscape paper stitch installation 3

Pages of a Landscape paper stitch installation 4

Pages of a Landscape paper stitch installation 5

 

‘Fragments of a Landscape’.  Paper, stitch, wax, wall-piece. The Nelson Regional Award, Changing Threads Contemporary Fibre Awards 2017.

Fragments of a Landscape Detail Paper stitch wax

 

‘Unknown Territory’.  A 25 piece, paper, stitch wax installation. The images depict ‘openings’ representing metaphorical windows into the unknown, designed to evoke a feeling reminiscent of a first encounter with somewhere unfamiliar and new. Winner of Dame Suzie Moncrieff Judges Award, Changing Threads Contemporary Fibre Awards 2016.

Unknown Territory paper stitch wax 1

Unknown Territory paper stitch wax 2

Unknown Territory paper stitch wax 3

Unknown Territory paper stitch wax 4

Unknown Territory paper stitch wax 5

 

‘When I Think of Home’ 2015. Machine embroidery, glass, wax installation.

When I think of Home II (1)

When I think of Home II Detail (2)

When I think of Home II Detail (3)

 

Artist: Lynn Price

I’m an English artist, from semi-rural Derbyshire, living and working in New Zealand’s beautiful South Island. I graduated with a BA Hons degree in Ceramics and Glass in 1984 and have been apprenticed trained in Siena, Italy during 1995. Since emigrating to NZ in 2006 I have found that living with a foot in two worlds offers endless scope for creative expression. Drawing was an integral part of my art training and I frequently feel the need to express my ideas through mark-making. I work in both glass and mixed media.

Uprooting myself from my homeland, took some courage, energy and faith in the future. As an artist, the experience also makes for complex influences that, willy-nilly, manifest in one’s work.

‘the power of a place where formative experiences helped shape identity lives on, a power more remarkable since it relies not on physical presence but only the act of remembering’.   John Percival, Return Migration in Later Life

From a migrant’s perspective, this quote resonates deeply for me. Through my art practice I address memory and nostalgic association with the landscape I call ‘home’, yet it references a narrative that can be read as personal or generic. I’m interested in the fact that we are able to bring associations to places and landscapes which, through memory, hold a resonance throughout our lives.

As I revisit these themes, memories ‘fine tune’, shift and idealise and I’m always surprised at how entangled I become in both the depth of the memory and the emotive response to it.

www.lynnprice.co.nz

www.instagram.com/lynnpriceart

www.facebook.com/lynnprice.nz

Lynn welcomes commissions and her studio is open by appointment.