Shaw comments: "It has been said my work is sentimental. I don’t know why sentimentality has to be a negative quality. What I look for in art are the qualities I admire or don’t admire in human beings. And very rarely do I meet people who aren’t sentimental. I have no story, which is why I am a painter. Beckett has a line about itching to make something with nothing to say. You know if you have got the itch."
Jeff Jahn reviews Seeing Nature at the Portland Art Museum (PAM), Oregon, on view though January 10, 2016.
Jahn writes that the show, "drawn from Paul Allen's collection ... is a kind of survey of landscape paintings throughout history and as such maps the shifting expectations that viewers have for looking at what we consider the outdoors. One thing I very much like about the exhibition is the way it treats cityscapes as a part of nature and the landscape, thus to 'See Nature' we have to see our own role in it."
Anna McNay reviews Lowry by the Sea at Jerwood Gallery, Hastings, on view through November 1, 2015.
McNay writes: "Mention LS Lowry (1887-1976) and most people will picture grim, industrial cityscapes from Britain’s north-west, with smoke-belching factories; men bent nearly double, hastening along crowded pavements; grey drizzle; and children playing in the street. But Lowry was as inspired by the coast as he was the city." This exhibition, she notes, "showcases Lowry’s intense relationship with the ocean. Spread across two small, dark rooms – which echo the mood of the works – visitors gain not just an overview of an aspect of the artist’s work that is usually overlooked, but also an intimate insight into his character, thoughts and self-perception."
Mark Sheerin speaks to curator Katy Norris about the exhibition Sickert in Dieppe, on view at Pallant House, Chichester through October 4, 2015.
"The 25-year-old Sickert was an apprentice of Whistler. But in Dieppe he fell under the influence of Degas... It was Degas who felt himself to be the better role model [than Whistler] for a young painter and, given the place he holds in art history, we might today agree. Sickert 'learned draftsmanship from Degas and watched minutely what he was doing'. The older painter, in turn, 'really thrived off that idea of a young artist still interested in what he had to offer'. But Sickert never abandoned the expressive lessons he learned in Whistler’s studio. 'He loved the viscosity of the paint and using rich paint, which was not like Impressionism,' says Norris. 'So he never really sat totally with the impressionists; he hung onto his beginnings all the time as well, you know, the early training under Whistler.'"
Lopas comments: "There is a great deal of painting that I love, have looked at, and learned from. But resonance is something different from that. For a painting to resonate it should be with you when you paint. It should guide you when you make decisions. It should occur to you in moments of reverie. For me those are individual artists or specific paintings, rather than periods. That’s because I think all works of art that exist are in some sense contemporary. If you can stand in front of it now, you can experience it totally on your own terms, regardless of its place in history... For me I have learned that painting is a process that produces a state of mind. It is best when no other concerns invade it. The judgment of others or yourself, the reception of the art world, are hindrances. Paintings are best when made from a state of pure absolute personal need. You must give yourself permission and space to get to it and then notice when you are ripe for working well."
Adrian Margaret Brune blogs about Elizabeth Livingston: Night Fell at Lodge Gallery, New York, on view through September 6, 2015.
Brune quotes Jason Patrick Voegele of the Lodge Gallery: "Liz takes great pleasure in peeling back veneers of suburban order to capture intimate moments ... Her most recent body of work evokes all the same cinematic emphasis on visual scrutiny and moments of false security -- much like a Hitchcock or Vermeer. There is a shared suspense in these voyeuristic moments, a sense of the quiet before the storm or the last rays of light before night arrives."
From the poscast post intrduction: "In his own words, Auerbach is suspicious of too much thinking: 'thinking about thinking', he says, 'isn’t true thinking…If one’s really thinking, one’s not aware of it'. Doing, for the artist, is everything."
Nicholas Wroe profiles painter Frank Auerbach. An exhibition of Auerbach's work will be on view at Tate Britain from October 9, 2015 - March 13, 2016.
Wroe writes: "... why has [Auerbach] adhered to a regime over much of the last 60 years that is far more restrictive than anything an employer would impose, often working seven days and five nights a week and barely leaving the small patch of north London near the studio where he both works and sleeps? 'Well, [Auerbach comments] you start to realise that painting is not quite as easy as you thought. In fact what you are doing isn’t really painting at all. You gradually see how much of a historical backlog there is, and if you don’t take it into account you are doing nothing more than fiddling about. At first I had to struggle to find the time to work, and then when I got a bit of time it seemed absolutely bonkers not to use it for painting."
Josephine New writes about the paintings of Simon Ling.
New observers: "At the heart of Ling’s practice are two preoccupations. Firstly, his fascination with making ‘something’ (a painting) out of ‘nothing’ (a uniformly overlooked corner of an urban housing estate, say). Secondly, perhaps more significant, is the understanding that the imagination is partnered with the external acts of vision and touch... Ling ... talks about a different ‘texture of decision-making’, that is ‘sharper, healthier and quicker’ when painting directly from life. This ‘live’ element, as he terms it, adds to the contemporaneity of the works. The pace of the marks and the time spent observing each detail are all savoured by the artist as an integral part of his method. You can almost piece together each element of a building, as if hung on (albeit wonky) planes: his doorways, for instance, are characteristically off-kilter, as though they had been painted on an easel rocking on an undulating pavement."
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.