Rauschenberg at Tate Modern

Robert Rauschenberg, Retroactive 11 1964, Museum of Contemporary Art Chicago

Robert Rauschenberg blazed a new trail for art in the second half of the twentieth century.

This landmark exhibition celebrates his extraordinary six-decade career, taking you on a dazzling adventure through modern art in the company of a truly remarkable artist.

From paintings including flashing lights to a stuffed angora goat, Rauschenberg’s appetite for incorporating things he found in the streets of New York knew no limits. Pop art silkscreen paintings of Kennedy sit alongside 1000 gallons of bentonite mud bubbling to its own rhythm. Rauschenberg even made a drawing which was sent to the moon.

Each room captures a different moment of this rich journey, from Rauschenberg’s early response to abstract expressionism to his final works saturated in images and colour. Seen together they show how Rauschenberg rethought the possibilities for art in our time.

This exhibition, organised in collaboration with The Museum of Modern Art, New York, is the first full-scale retrospective since the artist’s death in 2008 and the ultimate Rauschenberg experience. It is your one chance to see these major international loans together in one place, while discovering the full story of an inspirational and much-loved artist whose influence is still felt today.

Robert Rauschenberg, Charlene, 1954, Stedelijk Museum, Amsterdam

Robert Rauschenberg, Almanac, 1962

Exhibition organised by Tate Modern and The Museum of Modern Art, New York

Under 30’s to Watch

Fresh Irish painters: 10 under 30 to watch – selected for the RTE blog by Cristín Leech, art critic of The Sunday Times. Seven of the ten graduated from NCAD.

Darragh Dempsey, A Matter of Time, 206, oil on birch plywood, 30.2x45.5 cm

Darragh Dempsey, A Matter of Time, 206, oil on birch plywood, 30.2×45.5 cm

Amanda Doran, Dead, 2013, Oil on Board

Amanda Doran, Dead, 2013, Oil on Board

Joe Scullion, Off Course, 2014, oil on board, 44.5x40cm

Joe Scullion, Off Course, 2014, oil on board, 44.5x40cm

 

Eileen O’Sullivan, Unceremonious, II, oil on canvas, 2016

Eileen O’Sullivan, Unceremonious, II, oil on canvas, 2016

Jane Rainey, Sun Burst, oil on canvas, 2016, 50x40cm

Jane Rainey, Sun Burst, oil on canvas, 2016, 50x40cm

Shane Berkery, oil on canvas

Shane Berkery, oil on canvas

Chanelle Walshe, Telesthesia, oil on board. 50x40cm. 2015

Chanelle Walshe, Telesthesia, oil on board. 50x40cm. 2015

Click on artists names and be taken to their websites:

Darragh Dempsey, Amanda Doran, Eileen O’Sullivan, Jane Rainey, Shane Berkery, Chanelle Walshe                     

Posted by Robert Armstrong

Jane Rainey – MFA Graduate, 2016

Jane Rainey, oil on canvas, 2016

Jane Rainey, Toxicity, oil on canvas, 40 x 50cm, 2016

 

The paintings often describe no specific events, with the beginning, the end and the transgressive or progressive middle, often folding in on each other. The works are always in a state of flux, living somewhere in-between representation and abstraction, depicting things that are of this world but also not of this world. Tangible things that you can almost touch collide with unrecognisable abstract marks that are very much involved and about the act of painting. The worlds are suspended in time, with no sense of gravity, living within a liminal space that is neither here nor there. Bright in colour the works pulsate against each other causing harmonious connections as well as uneasy clashes. A sense of overwhelming uneasy and awkwardness occupy the painting, alluding that all is not what it seems.

Jane Rainey, oil on canvas, 2016

Jane Rainey, In Response to the infinite Scream of Nature,oil on canvas, 40 x 50 cm. 2016

Jane Rainey, oil on canvas, 2016

Jane Rainey, Witches Broom,oil on canvas, 120 x 150 cm, 2016

Jane Rainey, oil on canvas, 2016

Jane Rainey,The Man behind the Curtain, oil on canvas, 90 x 120 cm,2016

Jane Rainey website

Joseph Heffernan – MFA Graduate, 2016

Joseph Heffernan, Cityscape, oil on canvas, 2016

Joseph Heffernan, Cityscape, oil on panel, 40 x 30 cm, 2016

The Paintings are about the day-to-day activities of being in the studio and the Quixotic nature of the working process. The characters in the paintings are ones that I chose to bring in to the studio for narrative reasons. This narrative involves a theatrical conflict between abstraction and figuration, play-fullness and melancholy, hopefulness and despair, and is used as a vehicle or stage for exploring the absurdity of things.        Joseph Heffernan

Joseph Heffernan, Flume, oil on panel, 2016

Joseph Heffernan, Flume, oil on panel, 25 x 20 cm, 2016

Joseph Heffernan, Crusade, oil on canvas, 2016

Joseph Heffernan, Crusade, oil on panel, 30 x 40 cm, 2016

Joseph Heffernan, The Comedian, oil on panel, 2016

Joseph Heffernan, The Comedian, oil on panel, 25 x 15 cm, 2016

Joseph Heffernan, The Rehearsal, oil on canvas, 2016

Joseph Heffernan, The Rehearsal, oil on panel, 90 x 70 cm 2016

Kiran Riaz – MFA Graduate, 2016

Kiran Riaz, East meets West, digital print on canvas, 8' x 5', 2016

Kiran Riaz, East meets West, digital print on canvas, 8′ x 5′, 2016

Kiran Riaz grew up in Pakistan and moved to Dublin for her MFA. Her practice revolves around the counterbalance between Western and Eastern cultures. The work deals with cultural perceptions and her own experience of living between East and West. Riaz explores beauty, terrorism, religion and stereotypes of Eastern men as adversaries post 9/11. She has combined the Pakistani textile motif of Ajarak with Irish lace patterns in a mosaic format, using Photoshop software and traditional miniature painting. The work alludes to the mysteries and layers of visual storytelling from both societies, by revealing and concealing our combined histories.

Kiran Riaz, Untitled, acrylic on canvass, 12 x 12 inches, 2016

Kiran Riaz, Untitled, acrylic on canvass, 12 x 12 inches, 2016

Kiran Riaz, performance, sketch printing on T-shirt, (Austin Hearne), 2016

Kiran Riaz, performance, sketch printing on T-shirt, (Austin Hearne), 2016

Kiran Riaz, Who am I, colour pencil, on canvas, 2016

Kiran Riaz, Who am I, colour pencil, on canvas, 2016

Kiran Riaz, Untitled, acrylics on canvas, 20x20 cm, 2016

Kiran Riaz, Untitled, acrylics on canvas, 20×20 cm, 2016

www.kiranriazart.com

Farrell Brickhouse in conversation with Diana Copperwhite

Farrell Brickhouse in conversation with Diana Copperwhite during a studio visit to Staten Island in March 2016

'Stars', Farrell Brickhouse

“Stars”, Farrell Brickhouse

 

DC: Farrell you‘ve had a long and varied career to date; teaching at SVA is currently a big part of what you do, how does this impact and affect your studio practice?

FB: It is a privilege to teach, a sharing of one’s experience and a dialogue with another generation, to be relevant is a blessing. I want them to become students, as artists we are eternally students. I want to create a safe place for them to learn and to fail, which is what happens when you ask yourself to do things you have never done before and I want to share my passion. I come home and ask myself to do what I just spent hours asking my young artists to do. At times it is humbling what they achieve.

The students are also an endless reserve of abandoned materials! It is where the glitter came from, I had used it in encaustic works in the 70’s but here it was again! It was a bit like pixy dust, magical. Recently I used it to see what else there was to say, besides telling stories and tried to make more “abstract” works. Glitter suited this with its heightened materiality. It became a way to create this all- over feeling but eventually the glitter evolved to become just another paint which lead back to the stories.  Every asset can become a liability; glitter had to earn its way in or it was gratuitous.

I also have an “SVA Waste Paint Series” where all left- over student paint goes onto one canvas at the end of the day’s class rather than into the garbage, I then bring it home at the end of the Semester and continue work. It is a great lesson in the mutability of paint. I just finished one brought home in 1999.

“Hands Tell 2 With Plane”, Farrell Brickhouse

“Hands Tell 2 With Plane”, Farrell Brickhouse

“Lovely Looking Lassies”, Farrell Brickhouse

“Lovely Looking Lassies”, Farrell Brickhouse

 

DC: What are your influences?

FB: Ah Influences, what one consults, well they change over time. As for many artists it can lay outside of Art History, the light on a building, a couple sitting side by side, for awhile it was Corot; the flickering light off the water catching leaves and debris floating in the air thru the forest breaking down notions of abstraction and figuration. Auerbach, Rouault and even Vuillard; I feel I am part of that trajectory all the way thru to the flickering light of a pixelated image streaming on the monitor, fragments of light and structure that inform how I build my painting, as in de Kooning’s idea of “a glance”. Light is paramount in a painting, it’s portal. As I paint I follow the light, how it moves over the imagery and surface. There’s a sentence from A Portrait of the Artist as a Young Man- a fantastic world of sombre masses with lakelike spaces of dark rosy light- I’ve been trying to make a painting as good as that sentence for quite awhile. Many of my contemporaries inspire me, hold the bar up to what needs to and can be said.

When I was a kid growing up in New York I went to the Museum of Natural History on a regular basis. I loved the dioramas. A world complete along darkened corridors and would come home and build my own stages cannibalizing my electric train set landscapes. My dad was a carpenter, I watched as he always found value in the material world of things as did my Mom who was an artist and home maker. I inherited this belief that everything can be of use, is sacred in a way. From the discarded materials my students leave behind I collect canvases, their surfaces, their previous history peeping thru, a face, a piece of someone else’s world, it’s archeology sometimes giving the work another dimension or place to start.

"Ghost', Farrell Brickhouse

“Ghost’, Farrell Brickhouse

 

DC: Talk a little about the scale of your current work.

FB: It came about because of my resources and health. I lost my studio for a time after 9/11 living just 2 blocks North of the World Trade Center and that put limits on money, space, time and energy, so one does what one can. I like this small scale as there’s an intimacy that usually isn’t there in current larger paintings which can become almost operatic. I am more interested in finding a work thru the revelatory act of making a painted surface which I do more successfully on this current size mostly below 30” (76.2cm). Moving to a new smaller studio some years back required a belief I would be able to make good work at a reduced scale. There are 4” Goya’s on ivory and 5” Rouault’s that are stunning.

 

DC:  Tell me more about the content and narrative structure of your thoughts in relation to your surfaces.

FB: Our elites seem to have failed us in some manner, when a society senses this it moves to an embrace of rumor and myth which allows for the creation of personal mythologies for better or worse, see late Goya. Looking thru Art History there are these fantastical stories. I’ve read whole European societies were on a diet that contained rye! When rye rots it produces a hallucinogenic, ergot which to me seems to have informed people’s imagination, see the Illuminated Manuscripts. They saw animals as stand-ins for people, but pharmacology and human intelligence were always linked creating space for mythological creatures and stories. I “muck about” and in that process I seem to arrive at some place of value which has allowed stories from my youth, current events and personal doings to be available to me in paint. Sometimes I find that in one or two sittings but most times it takes place over time which dictates the nature of my thick surfaces. I find it exciting to take what may be an end and turn it into a beginning. In my artist statement I wrote- I believe the making of a painting needs that moment of epiphany and a trace of how the imagery conveyed thru paint was discovered and experienced by the artist. Not a graphic notation of the language of experience but the mystery of it.

 

DC:  You have an amazing palette, how important is it that you see the history of your scraped off and abandoned decisions? It’s like a sculpture!

FB: My actual physical palette- That’s my vocabulary and history, paint piles into sculptures and onto canvas. The paint becomes a living thing. I dislike giving up on stuff and use discarded paint that builds up over the years, it takes on a life of its own and often gets worked into a new piece along with other bits of found debris or even a free standing sculpture. Many artists look at their palettes and wonder why at that moment it is better than their painting. I often, at the end of a working day, grab a canvas and use up as much of my left- over paint as I can, sometimes it feels like the day was but a warm- up for this release and surprising things happen.

 

DC : Talk a little about your painting career to date.

FB: I realize how fortunate I was as a youth to come up in the early 70’s when there was no student debt and space in Manhattan was cheap. I was young and living in an emerging artist community in NYC. I started showing with Julian Pretto. He too was an urban pioneer and took over large spaces in what was to become Tribeca in Lower Manhattan back when no one wanted them. Julian turned these cavernous floors into warehouse galleries. Guys like Robert Ryman Mike Goldberg and Al Held who showed uptown but wanted to show in these large spaces would hang work there and I was one of the new kids invited in. The Senior Critic of The New York Times, John Russell, came to see the big guys and saw my work and reviewed me quite favorably.  From there I started working with Max Protetch but after some time with Max I dropped out as things were moving too fast. About 6 years later I was ready again and started showing with Pamela Auchincloss in the late 1980’s. When postmodernism came along by the mid 90’s very few were interested in painterly narratives and my career collapsed! In the long run this was actually beneficial as it allowed me to explore and experiment and make work without a due date for a show or collectors deciding what was important. This is now my third incarnation after a decade or more of working more or less in solitude except for a few artists and friends who remained committed.

 

DC   How has social media affected your work?

FB: Well, that “third incarnation” is largely due to social media. My wife and I were forced out of Manhattan and moved to a then isolated part of NYC in 2004. My students were going online to this thing called “Facebook” and other social outlets so I thought I’d give it a try since I’d largely lost my actual community over the years. It was kinda fascinating and I quickly found this digital scene of serious artists posting their work. It didn’t take long before a gallerist, John Davis in upstate Hudson, NY, that I’d known many years earlier asked if I’d like to have a show. That kind of response and those opportunities have continued due to that community on Facebook. But also there is this great exchange of information, I am constantly informed of other folks work much of which I would most likely not have gotten to see or be aware of and also this great art history lesson by astute fellow artists. Some times a post will be the missing part of the puzzle to get to the next step in the studio as well as getting a useful response to my own work, it provides a kind of eyes- on that I need digital as it may be. It’s also a huge bulletin board of all the events going on, a bit overwhelming at times but quite appreciated. There is the notion that we are misplacing this all for a real community but at this moment it is a true supplement for face to face dialogue.

 

DC:  Do you see your work as part of expressionism?

FB: If I were to use hashtags# that might be one but I think those terms are limiting and start to dictate how the work is seen before eyes even get on the art. Of course the “soul selects its own company” and I seek out many painterly artists for inspiration but too other art informs my work that wouldn’t fall into that category. We find beauty and meaning where we can and no one form has a lock on the truth.

 

DC:  How important is drawing to your practice?

FB: I feel if you can’t draw it you can’t paint it. But the practice is not linear; drawing comes both before, during and after painting. I liken it to the musician practicing, looking at the notes on the page, learning the song and coming to know it to the point where when one goes on stage, for the artist the canvas, one is not looking at where one’s fingers go but eyes closed is now free to explore the possibilities of the song, what it may offer as a creative vehicle. I think of it too as how one comes to the final calligraphic brush mark by the repeated making of a from. It is a coming to know. Often it amazes me what just a few minutes of sketching will do for my understanding of what may be possible in a painting and in offering ways forward. I usually finish off the day in the studio by sketching in my Journals, documenting where I’ve “landed”.

"Head for Hero", Farrell Brickhouse

“Head for Hero”, Farrell Brickhouse

 

DC:  How important is music in your studio while working?

FB: I now have Amazon’s Echo so I just ask it to play what ever I feel like listening to, and of course on my cell phone there’s Pandora, Spotify and Radio Paradise apps amongst others. At specific times of the day I play different kinds of music, it transports one and is a conduit to emotion, memories and is incredibly energizing. I just discovered the wonderful Mary Margaret O’Hara thanks to Helen O’Leary. But too I am a bit dismayed at the time I use in setting up all this technology to have access to the world’s musical output but it’s worth it. Listening to the new Grimes’ Art Angel now.

 

DC:  Your studio is also your home; one melts into the other?

FB: When I was young we hardly ever slept so one was painting, eating and sleeping at all hours and there was no sense in not living in the studio. Now I need to putter and I multi- task and so being at home has always been the way I live and work. I also need to keep seeing things, to kind of dwell in their presence, new reads and possibilities appear at any time, especially coming downstairs to the studio in the early morning to see if what I think I accomplished the previous day is actually there or what remains. I also often don’t know when my day is truly over, lots of good stuff happens just wandering back into the studio and finding myself working again for hours. Of course real distance is important, one goes out of town and upon returning nothing is precious any longer, being out of the trenches so to speak allows one to be an observer rather than a maker and that too is important.

 

Thanks so much Diana for this opportunity to share my thoughts. For those who may be interested there are Links on my website to further conversations.

http://www.farrellbrickhouse.net/

 

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Jan Pleitner – Water for the Tribe

Jan Pleitner, Water for the Tribe, Kerlin Gallery

Jan Pleitner, Water for the Tribe, Kerlin Gallery

An odd sound now pervades the Kerlin Gallery in Dublin. The almost in-audible high octave frequency rings from the ten Jan Pleitner paintings hung on its walls. The fast paced thud, thud, thud of the painting’s lines form jittering, sweeping, scratches of folding colour that have a distinct harmonic resonance, organic in nature yet distantly mechanistic.

It may come then as no surprise that Pleitner often completes a work in a single session, while listening to techno music. The painting’s metallic droning colours share a tempo with techno, which in turn atavistically follow the lineage of the shamanistic drum circle, both utilising a repetitive, boundary dissolving rhythmic structure. As we move in dark spaces intermittently interrupted by pulsing lights, listening to machine beat wailing, the fireside dancing of our ancient past does not seem so distant. Our collective desire to dissolve ourselves into our external reality is manifested visually in Pleitner’s painting. When standing in front of one with a spirit of generosity, the boundary between the dichotomies of subject/object relaxes ever so slightly. We are gifted with an almost formless expanse of shifting oscillations and deep nothings, which acknowledge our innate connection to the numen.

Jan Pleitner, Untitled, 2015, oil on canvas, 200 x 300 cm / 78.7 x 118.1 in

Jan Pleitner, Untitled, 2015, oil on canvas, 200 x 300 cm / 78.7 x 118.1 in

According to the press release the exhibition’s title Water for the Tribe is a reference to Frank Herbert’s science fiction epic Dune, indicating a techno-foundation of future oriented, fast flowing, cinematic interconnectivity. This space exploring futurism functions as one side of a coin, whose other face remains rooted in the organic and the archaic. He succeeds in evoking the pulsing lights of a Neo-Tokyo while simultaneously drawing on the psychedelic dreamscapes of tribal shamanism. This is played out across ten canvas through rapid scratching, scraping, blurring and removing of paint which has evidently often come straight from the tube. The technique is qualitatively fast. Speed functions here as a key value resulting in a kind of high key naturalism that is both visionary and mechanical. Scale and colour ultimately determine the subtle differences between individual works, but in their affect they all function similarly.

Jan Pleitner, Untitled, 2015, oil on canvas, 230 x 140 cm / 90.6 x 55.1 in

Jan Pleitner, Untitled, 2015, oil on canvas, 230 x 140 cm / 90.6 x 55.1 in

Pleitner’s rich synesthetic cadences draw on our electric extensions and our private chthonic moments. What we see in his paintings is what largely goes unseen; the currency of being. His paintings are an isthmus of force between our known and unknown realities. Bold and striking, Water for the Tribe is not to be missed.

Fergal Styles