For me, art is a form of meditation. Nothing carries you away and clears your mind like visiting art galleries. I think it’s good to visit galleries either by yourself or with an artist friend. When I’m alone and looking at art in galleries, I get essay ideas or even come up with solutions for issues in my life. For the most part, it’s really a time to be in communion with creativity It’s like getting a quiet education. Artists see things that art historians and other art professionals simply won’t see. You get inside the process of art making when you visit galleries with artists. It meditative and fun. Art galleries often restore this great sense of calm and wholeness. Work-pressured art dealers probably won’t feel this way, but you will.
Contemporary art museums aren’t the only places to learn about art. You can learn plenty in art galleries. A really good art gallery will have people-friendly staffers on hand who can tell you all about the art that you’re seeing in addition to some things about the artist
Nothing boosts your own personal creativity more than visiting art galleries. If you want to unleash your own creative juices, visit them often. I’m not sure how it works, but it feels like great, being around art and in the company of creative people makes YOU more creative. Don’t get caught up on HOW, just enjoy your new found process.
2016 degree show exhibition – BA Fine Art, Middlesex University
Installation view of Barnett Newman: The Stations of the Cross: Lema Sabachthani at the Solomon R. Guggenheim Museum, New York 1966. Photo: Robert E. Mates Solomon R. Guggenheim Foundation, Yew York
In 1950 Newman led his peers in a campaign to denounce the Metropolitan Museum for not recognising abstract art.3 The open letter appeared on the front page of the New York Times on 22 May and was followed by the now legendary photograph of the signatories, dubbed the ‘Irascible Eighteen’, in Life magazine. They were forever linked through the Life image as the first generation of abstract expressionists.4 Irrespective of his position at the time, but perhaps hinting at how his legacy would evolve, Newman was posed centrally in the photograph.
“You know, they say the best things in life are free. This is a fantastic reason to visit art galleries. All you have to do leave your fear at the door, walk in, smile, say hello to your greeter (if there is one), quietly walk around and enjoy your visual feast. It’s free of charge. What could be better?”
Free Range is an Old Truman Brewery special project set up by Tamsin O’Hanlon to provide new creative graduates with the opportunity to showcase their work on an international level. Since its inception in 2001, Free Range has become the number one platform and launch pad for the next crop of creatives to showcase their work to both public and industry. Attracting visitor numbers to rival the largest art events, the annual Free Range exhibitions present the work of thousands of art, design students in several distinct categories including: fashion, art, graphics, photography and interior design.
“Arshile Gorky. The Liver is the Cock’s Comb (1944), oil on canvas, 731⁄4 × 98″ (186 × 249 cm), Albright–Knox Art Gallery, Buffalo, New York. The painting represents the peak of Gorky’s achievement and his individual style, after he had emerged from the influence of Cézanne and Picasso. ”
Artwork description & Analysis: Though abstract to a great degree, this work nevertheless reveals Gorky’s fondness for organic forms loosely based in nature and the sumptuous colors that would prove to be essential to his mature style. The work of Pablo Picasso and Wassily Kandinsky, as well as that of Joan Miro and Roberto Matta (who in 1942 suggested that Gorky use more turpentine to loosen up the paint) provided strong influences on Gorky’s painting practice. In 1945, Andre Breton, the author of the 1924 Surrealist Manifesto, praised this painting for its combination of nature and reality, filtered through memory and feeling. The scholar Harry Rand has discussed the content of this picture at length, pointing out the rooster-headed figure with the feathered groin at the right as the vain fool. Rand explains that the liver was once thought of as the seat of the passions (love and lust), thus punning on the “cock’s comb” part of the title, and could also be construed as “one who lives,” therefore asserting that life itself is vanity and all in vain.
Frank Auerbach in his London studio, 2001, photographed by Kevin Davies .© Kevin Davies, courtesy National Portrait Gallery
To drag the past into the present and re-animate it’. Frank Auerbach at Tate Britain
Catherine Lampert 20 October 2015 ,Tate Etc. issue 35: Autumn 2015
Frank Auerbach (b1931) is well known for his intensely worked paintings of people and London scenes, which are often repeated and can take months, even years, to finish. But what is it like to sit for him every week for more than 30 years? The curator of the forthcoming Tate Britain retrospective, and author of Frank Auerbach: Speaking and Painting (2015), reveals her experience of being so long the object of his gaze, and gives an insight into the methods that result in his extraordinary paintings.
While posing, facing the back of the easel and looking off to one side, it is impossible to guess what is happening on the canvas. During my two hours in his studio Frank Auerbach is as active, in an extreme and strenuous way, as he was when I began sitting for him in May 1978, the month his retrospective opened at the Hayward Gallery. At the time I found him a highly intelligent, articulate artist, but already a reclusive one. He thrives, in his words, when he can make art in a self-forgetful state, wanting the resulting image to stand up for itself, not prone to looking back.
With a portrait his aim is not exactly to convey likeness, more an experience: how the person looks (including under the skin); what’s going on in their life (and his); the conditions of that evening. Like an apparition, something totally unforeseen, possibly lasting for just seconds, may spring from making a few brush strokes, establishing an area of truth which ‘might actually expand into a whole truth’. The goal is a set of connections between the masses, the space, the sensations and a picture with a tense surface character. After each session he scrapes off the paint and begins again. A single painting might take months, even years, before something appears that he hadn’t predicted and he hopes means the work is finished. (There is an analogy between Auerbach standing up, gesturing and drawing with a loaded brush, and a great actor’s days of endless rehearsals and then unexpectedly inhabiting the character, the performance perhaps unrepeatable).
Mona Hatoum, Tate Modern: Exhibition
Mona Hatoum creates a challenging vision of our world, exposing its contradictions and complexities. Hot Spot is a steel cage-like neon globe which buzzes with an intense, mesmerising yet seemingly dangerous energy. Elsewhere electricity crackles through household objects, making the familiar uncanny.
This is the first major survey of Hatoum’s work in the UK, covering 35 years from her early radical performances and video pieces, to sculptures and large-scale installations. Born in Beirut to a Palestinian family, she settled in England in 1975.
Through the juxtaposition of opposites such as beauty and horror, Hatoum engages us in conflicting emotions of desire and revulsion, fear and fascination.
“One of the most important and powerful artists of her generation finally gets the big British show she deserves” The Sunday Times
“One of the shows of the year… Mona Hatoum’s art makes eloquent statements not only about the Middle East, but about what it is to be human in the world today.” The Telegraph
“Currents surge, wires spool and buzz, and the political and personal fuse in this major survey of an artist forever pushing herself to do things differently. “The Guardian
Immerse yourself in the work of one of the most important artists working today.