Which way is the best way? There are always at least two ways of looking at things – with at least two outcomes.
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Tarot – which way is up?
Author Archives: peter
Photo of print – printmaking in Cornwall
Splat – I love getting covered in ink.
I sometimes forget what fun printing is.
Royal Academy’s Summer Exhibition – Grayson Perry – #Art #RA
I went to the preview of the RA summer exhibition at the weekend – it was full of the usual high and low points. Possibly the glass of Pimms was the most exciting thing…
What the critics like: You’ll find great pieces if you keep your eyes peeled, says Rachel Campbell-Johnston in The Times. This is a vast messy reflection of what is going on in artists’ studios all over Britain. In an art world dominated by meticulously curated exhibitions that instruct you what to think, “we should learn simply to love it for that”.
Read more: http://www.theweek.co.uk/art/53489/royal-academys-summer-exhibition-lucky-dip#ixzz2VpwUxdzx
Really enjoyed the Grayson Perry textile wall hangings, not my thing really but garishly fun.
In 2012 Grayson Perry made documentary series ‘All in the Best Possible Taste with Grayson Perry’, about class “taste” variables, for Channel 4. Each episode showed him living among the “classes” in different towns, he explored both male and female culture in each “league” and focused on what they buy, creating a juxtaposition of ‘good taste’ and ‘bad taste’. The documentary was in three parts: “Working Class Taste,” and “Middle Class Taste,” and “Upper Class Taste.” The conclusion of the documentaries was one of ‘so what’ – bad taste could be good taste and good taste could be bad taste, it is all subjective and above criticism.
He photographed the people he came into contact with and illustrated his experiences. These sketches were then developed using Photoshop to create finished image files that were then processed to create final tapestries, which were woven on a computer controlled loom in Flanders. The contents he says, were partly inspired by William Hogarth’s series of small paintings “A Rake’s Progress” depicting 18th century society at the time (1732-33).
Of the tapestries, Perry says,
The Vanity of Small Differences consists of six tapestries that tell the story of Tim Rakewell. Some of the characters, incidents and objects I have included I encountered whilst filming All in the Best Possible Taste. The tapestries tell a story of class mobility. I think nothing has such a strong influence on our aesthetic taste as the social class we grow up in.
Why not get some art delivered in the post for only £1.00 ?
We will mail you a signed postcard of an image that was exhibited in an exhibition of Peter Bright’s at West Buckland School.
To receive your postcard click the button below – the £1.00 is to cover postage etc.
Quotes: “Take up a radical position with Peter Bright, who is borderline anarchic in his thinking and equally bold in his art.” Andrea Charters … Continue reading ?
Exhibition of Prints, Drawings and Paintings by
Peter Bright
150 Building, West Buckland School
Monday 6th June – Friday 1st July 2011
Old images and ideas revisited and recycled – re-executed in print and paint. A body of work based around “Beauty and the Beast” a classic tale of love, rejection and prejudice, where the beauty is the beast and the beast is the beauty. An allegory, a symbolic representation or a metaphor for my feelings towards ART.
I have always loved the idea of Mail Art – the forerunner of the Internet!
Here is a newspaper clipping about the exhibition at West Buckland school. To see larger image click here
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Dead gannets and rubber gloves
Dead birds and rubber gloves, pouches of Chinese fresh drinking water, sections of discarded fishing nets strewn across the tourist beach, stinking of rotting carcasses and seaweed. I think this might be what they call pollution or maybe the destruction of one of the finest surfing beaches in North Devon.
Photographs taken on Woolacombe beach May 2013.
Sans jury ni récompense
I wish I felt like experimenting with paint.
Aquetin carried out an experiment studying the light passing through the colored panes of glass in his veranda. Bernard wrote and commented on this experiment, ‘Aquetin observed the light streaming through the coloured panes of a glazed door and noticed that yellow produced an impression of sunlight; green of dawn; blue of night; red of twilight.’ Bernard painted ‘The Reaper’ in the key of yellow (often repeated later by Van Gough) and in the key of blue, ‘The Avenue de Clichy at Evening’. These paintings were exhibited at the Revue Independante, at the Salon des Independants and at the headquarters of Les Vingt in Brussells. Read more…
The Société des Artistes Indépendants (Society of Independent Artists), Salon des Indépendants, formed in Paris 19 July 1884. The association began with the organization of massive exhibitions in Paris and was established in response to the rigid traditionalism of the official government-sponsored Salon. Their exhibitions were where new artworks were often first displayed and where paintings were widely discussed and in some cases caused controversial outrage in the newspapers and journals of the polite, conservative Parisian society.
Choosing the tagline “No jury nor awards” (Sans jury ni récompense) the society’s aims were to champion new ideas and thoughts that were prevalent in the cafe cultures of Paris and Europe. These contemporary ideas were being marginalized by mainstream critics and galleries. The strategic alliance between these artists from different backgrounds and methodologies was extremely successful in promoting their collective vision. The publicity gained by this ‘outsider’ tactic became the launching pad for many artists, who by gaining notoriety and publicity, crossed over into the mainstream.
Albert Dubois-Pillet, Odilon Redon, Georges Seurat and Paul Signac were among its co-founders. For three decades their annual exhibitions moulded the art of the early 20th century. World War I brought a closure to the salon, though the Artistes Indépendants remained active.
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