Responses: Keith Arnatt’s Gardeners (1978-79)

In the late 1970s, Keith Arnatt embarked on an unusual series of photographs collected under the title of Gardeners (1978-79). In the years before, he had produced a similar series of works looking at dog walkers, such was the draw of the ordinary for the artist. Essentially, however, it is what Arnatt found in this seemingly everyday scenario that tapped into his usual sense of … Continue reading Responses: Keith Arnatt’s Gardeners (1978-79)

Responses: Poems On Landscape And Melancholy (Volume 2)

Throughout 2017, I have continued with the responses form of article to works of art and other miscellanea.  Like last year, I found that a more interesting way to assess a piece of work was to not simply write an essay but to pair it with a poem; condensing the essence of the reading down into a basic selection of key notes, reactions and atmospheres.  … Continue reading Responses: Poems On Landscape And Melancholy (Volume 2)

Responses: Hole In The Sea (1969, 1970), Barry Flanagan

I have never seen Barry Flanagan’s short video piece, Hole In the Sea (1969), yet I’m not quite sure if I ever quite want to.  The short piece, filmed by Flanagan with Gerry Schum in Holland for a Land Art TV exhibition, currently exists in colour and in black & white, contained variously in the Pompidou archive in Paris and the Stedelick Museum in Amsterdam.  … Continue reading Responses: Hole In The Sea (1969, 1970), Barry Flanagan

Responses: Avebury Photos (1933 + 1942) – Paul Nash.

The landscape painter and augmenter, Paul Nash, had a momentary, glimpsed relationship with the Wiltshire town of Avebury.  The landscape, which brims with a sense of ancientness and magic, evidently enraptured the painter for a brief spell of creative yield not simply in painting but in photography as a sideline as well.  Caught in the trace images and memories of its Neolithic stone circles, its … Continue reading Responses: Avebury Photos (1933 + 1942) – Paul Nash.

Responses: Blind Landings (2013) – Jane And Louise Wilson.

Debris degrades and degradation can be measured but can art be this measurement?  Orford Ness in Suffolk, a former atomic weapons mechanism research and testing facility, doesn’t ask these questions but the place has attracted such a huge number of artists to its shores that the question of creativity and its role as a reaction to such politically doused spaces cannot help but be evoked.  … Continue reading Responses: Blind Landings (2013) – Jane And Louise Wilson.

Transmitting Andy Warhol – Tate Liverpool.

If ever there was an artist for the globalized age of mass media, technology and excess, it would be Andy Warhol.  With a new exhibition at Tate Liverpool of his work (the first of its kind in the north of England), it becomes clear that the artist was so unprecedentedly ahead of the times and the fashions, that his work seems born of ironic pathos.  … Continue reading Transmitting Andy Warhol – Tate Liverpool.

Forest (Short Film) and A Screaming Breeze (Book).

For some time now I have been involved in a collaborative arts project with local illustrator and artist Katie Craven.  Before the first stage of the project could be unleashed onto the unsuspecting public, the project collapsed in on itself thanks to a Belgian art gallery among other things.  To show just how close it got to being finished, there’s even a stop press advert … Continue reading Forest (Short Film) and A Screaming Breeze (Book).

Art Turning Left – How Values Changed Making 1789-2013 (Tate Liverpool).

Looking at an amalgamation of political ideas can be disorientating at the best of times. Trying to encompass a whole, global set of standard ideologies is ambitious but dizzyingly incomprehensible for one singular gallery space. Art Turning Left at Tate Liverpool aims to look at the, often naively inversed, relationship between the effects of left-wing ideologies on the practice and reception of artists of all … Continue reading Art Turning Left – How Values Changed Making 1789-2013 (Tate Liverpool).

3AM: Wonder, Paranoia and the Restless Night – The Bluecoat (Liverpool).

This article was written at 3AM in the morning on the 28th of October. It’s dark outside. A few hours ago I was at an exhibition with a running theme of ideas that manifest at 3AM in the morning. Strangely, the solitude of writing at 3AM isn’t something new but the exhibition at Bluecoat aims to provoke such thoughts that occur during this time. Of … Continue reading 3AM: Wonder, Paranoia and the Restless Night – The Bluecoat (Liverpool).

Diary (2010) – Tim Hetherington (Open Eye Gallery).

An exhibition of Tim Hetherington’s excellent, emotionally charged photography work is currently on display at Open Eye Gallery. Whereas a whole exhibition of high standard work would usually warrant an long, blow-by-blow review, there is a piece currently on display there that not only sums up the whole show but also requires a full and proper write-up all of its own. The piece is a … Continue reading Diary (2010) – Tim Hetherington (Open Eye Gallery).