painters Tubes magazine issue #4 - Page 32

32 “ there is no such thing as abstract painting, everything comes from something..” Pablo Picasso The catalyst for a figurative painting resurrection may have come from a movement that became known (in Europe) as the ‘Transavantgarde.’ Achille Bonito Oliva, an Italian critic overseen the new, or more appropriately, renewed, an art philosophy that rejected the left wing [political] thinking and its corresponding artistic psychoanalysis. They returned to encouraging the use of traditional materials and the creation of Art imbued with not only talent but the invention of new image communication forms or symbolic signs. They gained an international audience in 1982 with an exhibition that was mounted in Rome. The leading Transavantgarde artists included Chia, Cucchi and Clemente with Baselitz and Keifer in Germany, who are often thrown into the mix of the artists in this re-engagement with painting. What was also significant was that a few artists in the USA seemed closer to the European Transavantgarde mind set than they did to the ‘pop’ or the ‘hyper-realists’ practitioners (for example, Julian Schnabel). This goes to illustrate how the Art in the public view (via media coverage), the one sanctioned and approved by art institutions, can be misleading with the implication that Art is binary or lineal. Most artists know that Art is and always has been, dynamic and multifaceted. We are only in the 17th year of a new century, but these last seventeen years are proving to be milestones in painting development, albeit not to the same extent that Cubism changed how artists think about how they could create a work of art. The neo-expressionism of the Transavantgarde of the 1980’s led to more and more figurative interest in art creation. And in certain ways figurative abstract painting has asserted itself as the popular choice of many artists. Today figurative abstraction appears at the forefront of recent painting. It can take the form of abstracted human forms, landscape, emotional or personal experiences. The resulting artworks all carry something ‘real’ as the key element in the work of the artist. Art for Art ‘s sake, or Art as an object in itself is no longer the main concern. What is apparent today is that the visual art playing field has widened and levelled itself to be inclusive rather than exclusive, as it was once was not so long ago. Realism, semi-realism, abstraction in all it’s forms, gestural expression, geometric formal, and informal and combination abstraction (objectivity mixed with non-objectivity), photographic-painting montages, video, digital art and graffiti, all have an active role to play in the kaleidoscope of todays visual art world. The whole history of art and art ism’s seems to have merged into an array of visually stimulating and exciting art, but only new in the sense that they are created in the ‘here and now’ and reflect that ‘here and now’ – however, it is perhaps a more short sighted view of culture that is held today than it was in the middle of the twentieth century. For me, as a painter, it is an exciting period and like many creatives today, I feel the freedom and the challenge that the choice of medium, method of painting and varied subject matter represents. The ‘outlets’ (galleries) for this eclectic view of Art is also far more receptive and widespread than one would imagine. Today independent Artists can hire spaces in purpose made pop-up type art galleries which cater specifically for independent artists shows. Many painters are grouping themselves together as ‘gallery-studios’ or as a gallery artists run co-operatives with varied types of work exhibited, who pool their finances to ensure each individual exhibition gains the right amount of marketing and public exposure needed for reasonable success. Private commercial galleries are starting to work together to share ‘artists’ ideas and organise single theme shows to encourage audiences to travel from one exhibition in one gallery, then onto another with the same theme. The future for commercial galleries, it seems, rests in a multifaceted genre of art rather than the singular specialised fav ɕ)ЁɔѡЁ丁Q䁅ɔѼ)ɅєݥѠѡȰɅѡȁѡѥѼѡ+aѥѽˊdх䁽ѡи)%Ё́ɡ́ѡaѥѥdɽѡ܁ѡЁ)ɅѡɕЁɥ́ѡ)ɅѥٔѠ)Q܁́ȁɥѽȁѼѡ+aɅѥͥdа䁥ѥ)ݥѠɅЁѥ́܁ѡɥ́Ս)хձɥ䁅́ѡɅѥ)͍ȁхЁ́啐ٕȁѡ)Ё̸аѥѥձȰ)չɕхЁ͡ձɥ͔́Ё͡ձ)ٕȁչЁЁɔЁ́͡)́ѡ́ɔ́ЁɅЁЁ$)ѡѕȁ݅ѼɽչЁѡ͡ݥѡ)ݽɬѡѥ͕́ѕѼՑи)Qѥ́م䁥ɽչѥ䁅)ѥՑ́Ѽи=ȁݼɔٕݕݸ)ȁݼɔٕ䁅͡ȁݼݥ)܁́Ѽѡɕȁѡ́饹)ѡѥ́ݡٔɕѼٔѡȁݽɬ)Ցٔ䰁ѡ䁅ɔѕ́ݡ)ѕѼɕєɅЁݽɬɅѡȁѡͽє)ɅѥɅѥٔѥ̸)Qݕٔѥ́ɕݥѠݼ)ѡɕᅵ́ѡȁݽɬɥє)͕Ёѡѡȁа䁝ٔѡɕ)͔ݡЁ́ݥѠѡٕ)ɅѥٔɅЁѽ丁$ٔͼ)Ցͽѥ́䁽ݸݕ)ɕȁ́ɥѥ́ՉЁѡѡ)ѥ́ɕݥͼݥݕȁѡ՝)ѡȁݽɬ)́Q屽ȰѥЁѽȰѕ́QՉ)Չѕ