Art as a path to the sublime: Agnes Martin at Tate

I have a bit of time today, so thought I would talk briefly about the Agnes Martin show at Tate:
http://www.tate.org.uk/whats-on/tate-modern/exhibition/agnes-martin

Unexpectedly, I found I had a day longer in London last weekend than I thought, so took the opportunity to see the show.

I can honestly say, it is one of the best exhibitions I have ever been to, and I've been to many.  First up: the place was almost empty, which is the best way for a gallery to be, even better for an Agnes Martin show, which requires deep looking and thought in a peaceful environment.

The curation and hang is superb; Martin was in the habit of re-acquiring early work in order to destroy it, here we have examples of her entire life's work.  The examples of early work, while not as interesting to me; they are derivative of other artists's works and movements ( Surrealism, Cubism for example); they were useful as part of the context of her development, as with any retrospective.  For example, Martin's colours remained pretty much the same throughout her career:  neutrals or mostly very pale hints of colours; like looking at colours behind a veil. Where she use stronger tones the colours are still mostly neutrals although stronger colour is occasionally evident.  I was fascinated by this thread throughout her life's work.  It is interesting to see how her work changed when she moved to New York, becoming full of life, expectation and experiment and the moment when she cast off curved lines to embrace the grid, vertical and horizontal line.

Each space provides the work room to breath; the fact that the gallery was almost empty helped of course, but these works require time and contemplation and the hang enables this.  One of the rooms, 7 I think, had cleverly screened a floor to ceiling window with fine white fabric, filtering the light but allowing the grid of the window design to show through, echoing the grids of Martin's work.

Martin's works on paper are equally enthralling, room 10, "presents a retrospective within a retrospective", to quote Tate.  Room 6  shows a collection of silk screen prints published by Parasol Press in 1973 that she had worked on in Stuttgart the previous year.  I found these interesting because Martin had expressed a need to "straighten out her lines" because she could "never paint straight enough".  The slight waverings of her lines in the paintings, creating optical wobbles and movement is one of the aspects of her work that I enjoy; the imperfections of the straight lines reflecting the frailty of human existence and evidence of the artist's hand at that particular moment in time.  However, this desire to straighten out the lines provides us with an insight into her nature; I suspect she was not all sensitive and vulnerable; there is a doggedness, a determination about Martin's continual exploration of line, grid and surface that shows strength of mind and character, whilst acknowledging the frailty of her mental health.  You'd have to be bloody minded to keep on making canvasses of the sizes she selected and to continue exploring her themes as she did.

Room 9:

"My paintings have neither objects nor space nor time nor anything - no forms.  They are light, lightness, about merging, about formlessness, breaking down form"  Agnes Martin, 1966.

The highlight of the entire exhibition for me.  This suite of twelve paintings, The Islands, all white canvasses each 182.9 x 182.9 cm square, are utterly beautiful.  They are so sensitively curated; instead of the usual wire barrier that sounds an alarm should any visitor get too close, there is a platform about eight inches high all round the room beneath the paintings, keeping visitors the same distance from the work.  The walls are painted a shell like tone of palest lilac allowing the works to communicate without any visual struggle. These works require time and patience; I could have stayed in there all day and more. 

Tate describes them as Martin's most silent works.  Their surfaces require intense scrutiny to appreciate their surfaces and fine lines; Martin was interested in East Asian philosophy and spirituality and they reflect this.  I found myself becoming intensely emotional while looking at these works, it was a really profound experience.

On considering why this was so, I think it was the sheer scale of the group that reflect, for me, Martin's intense scrutiny of herself through painting.  I was not overwhelmed by them because I thought they referenced my scant knowledge of Martin's fragile mental health but because of the absolute commitment, determination and focus that these paintings express.

I am not going to describe the entire exhibition, I could not do it justice.  It is a wonderful example of how an artist can produce a profound body of work throughout their life by sticking with and honing one idea, building on it as understanding and experience grows.  I cannot recommend this exhibition enough, it is a "must see".

"You are what goes through your mind, whether you are aware of it  or not, you know, and if you can become aware of it and then if you can try and express it, you are an artist", Agnes Martin, video, Road Trip



(Quotes are taken from Tate literature and web site).

Interesting reviews:
http://www.theguardian.com/artanddesign/2015/jun/07/agnes-martin-retrospective-review-tate-modern

http://www.theguardian.com/artanddesign/2015/jun/01/agnes-martin-review-tate-modern-grid-paintings

http://www.economist.com/blogs/prospero/2015/06/agnes-martin-tate-modern

http://www.telegraph.co.uk/culture/art/art-reviews/11643368/Agnes-Martin-Tate-Modern-review-immaculate.html

http://www.studiointernational.com/index.php/agnes-martin-retrospective-review-tate-modern-london

http://www.independent.co.uk/arts-entertainment/art/features/agnes-martin-at-tate-modern-a-zenlike-quest-for-beauty-10290161.html

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"A quiet presence"

"Your drawings have a quiet presence; I keep having to come back to look at them again; thank you."

Fading, mixed media drawing

Detail, Fading

"I saw some work a bit like this at the Royal Academy this summer, but yours are much better, you should enter."

"Wow - amazing; I'm just going to get my friends to see this, back in a minute!"  
(On turning the corner and confronting my work for the first time).

Heart drawing #1

Just some of the lovely comments about my drawings that I received over last weekend in London at Islington Contemporary Art and Design Fair 2014, Part 2.  I would like to thank everyone who came to see the work.

I did not make any sales, although I came very close with my large drawing Fading and Heart drawing #1; buying pieces of art is a major investment for people and requires time to contemplate and consider - maybe more time than a weekend affords.  I might yet hear from the interested persons. . . .

My hand made business cards went down a storm; people really loved them, selecting their favourite from the stash and very excited when I told them they could take a few.  One lovely lady carefully selected some to put in a frame.

Overall, the fair was worth doing, it was very well organised and the spaces were well lit and laid out. There was a steady stream of people throughout both days and the PV on Friday evening was well attended.  You never know who may contact you after the event with a view to purchasing something, so fingers crossed!  I am pleased with the response to my work; I have always aimed to have it stop people from just passing by and be drawn in for a closer look and I certainly achieved that.

The other exhibitors were nice: I had some lovely chats with Claire Gill, who had the space next to mine.  Claire's work, with photo montage of mostly beach scenes plays with scale, perspective, shape and pattern to create wonderfully vibrant and interesting pictures. I am sure we will stay in touch with each other.  http://www.cgeditions.co.uk/

Special thanks must go to my daughter Sarah and son Mike for their support and help throughout the weekend.  Sarah was my brilliant PA and technical support for hanging the show and Mike was courier, taking the work from the venue across London to his home when it was all over so I could spend time with his wife and baby boy, now three months old! Thank you also to Candid Arts, for inviting me to submit work for the show and for their helpful responses to my questions before I arrived in Islington. 

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One&Other magazine

Our show, "Drawings", has been featured in One&Other magazine!  I am very pleased that it is generating interest more widely than we had expected.

Once again, thank you to Issy Doney and Rob Oldfield for their support for this exhibition.  The White Room Gallery is a really nice space in which to show contemporary art in York.

http://www.oneandother.com/news/544-drawings-new-exhibition-launches-at-priestley-s

Drawings: Exhibition at The White Room Gallery, York

Drawings

The White Room Gallery at Priestleys at Nº 36, Bootham, York

Artists: Sue Gough, Sally Taylor, Lyn Wait

Opens 2nd July through to 30th July. 

Meet the Artists Saturday 12th July 2pm – 5pm

This exhibition features three artists for whom drawing is an integral part of their practice. Sue Gough explores ideas about the human condition with references to asemic text and textile construction, which communicate meaning in ways that are non-verbal. The tally motifs and lists provide structure and reflect on the repetition of daily living. www.suegough.blogspot.co.uk

Sally Taylor’s work explores the imminence of the hand-drawn mark with urgency and energy. Her Heads investigate facets of human communication. Sally’s contribution to contemporary drawing practice has been acknowledged through selection of work for the Jerwood Drawing Prize 2011, 2009, 2004. She was included in the 54th Venice Bienale, WW Gallery, London and Drawing Paper #6.www.sallytaylor.net

Lyn Wait’s is interested in how, through physical presence, she might affect perceptions and perceived notions of landscapes and heritage. Lyn has used film, photography, singing, costume and participation to act out scenarios around specific rural sites. The drawings are from the series “Imaginary Interventions in the Countryside”. www.lynwait.net

All three artists are members of Ryedale ArtWorks, an artist led community dedicated to raising the profile of artists, makers and galleries from Ryedale and the region. www.ryedaleartworks.co

Lovely day in York doing final setting up of "Drawings"

What a beautiful day it was today!  I was in York again, doing the final set up with Lyn Wait for the exhibition "Drawings" that opens tomorrow at The White Room Gallery:

Issy Donney, owner of Priestley's no.36, Bootham, York, where the gallery is situated in the basement declared the exhibition, "beautiful" and "fresh", saying she was really impressed and pleased with it all. 

Here's a few pics of my work during the hang; the works will be much straighter once they have had blocks stuck behind them to steady them on the hanging system:

Too many labels at the moment; the temporary ones had not been removed, nor has the lighting been adjusted.

I am really pleased with how all three of the artists' sketchbooks complement each other inside the display case.

After we'd done all we could, we left the rest in the capable hands of Rob Oldfield.  I took my bubble wrap and other odds and ends back to my car in Marygate and then wandered back into the city center,  through the museum gardens and on, past the Minster.  Lots of yellow bikes about to celebrate Le Tour!

Life is SO busy ain't it?

Working at the end of the garden, cutting down all the weeds and hacking back the very overgrown Blackthorn hedging was pure pleasure with the heady perfume of this Philadelphus wafting in the air; it was almost intoxicating! 

Well, life is a busy as ever!  Which is why I have not blogged for a while, but I am still here and still getting on with things in the studio, house and garden.  Oh, how I long for the day when the house and garden is finished, so that I can spend more time exploring this beautiful area of North Yorkshire and having lots more fun with family and friends.  Did I say before, that we are expecting our first grandchild in July?  I have re-discovered the joys of crocheting blankets of late!  We are very excited and looking forward to meeting the small one.

Only a bit of painting to do in the new entrance at the back of the house; my new favourite place to sit with my tea in the morning.

Open Studios is over; I must remember to send in my feedback form and commission money. The second weekend was not as busy as the first, in fact, Saturday was pretty boring because I only had four visitors by eleven thirty in the morning and that was it for the day!  Never mind; Sunday was much better and I was very pleased to meet France-Leigh Hadrysiak from Chrysalis Arts, who made the effort to come and meet me and see my work.  It was very nice to be able to put a face to the name and France-Leigh's support is very much appreciated.  All my visitors were genuinely interested in my work, which is encouraging.  In all I made three sales of small works on paper but most importantly, more people now know about me than did before.

Another big bonus of the Open Studios is that I have become friends with three other artists in Ryedale; Catriona Stewart, Bridget Askew and Bridget Gillespie.  We met at each other's studios in between or just after the event.  It has been lovely to talk about our work over coffee and share ideas and experiences,  it quite brought a lump to my throat because it reminded me of doing this with my good friends I went to college with who are no longer here.

Since then, I have been finishing off some small paintings on board for the upcoming show at The White Room Gallery, Priestley's No. 36, Bootham, York.  The show is for the month of July.  I was unsure of the paintings at one stage, but now that I have worked on them further I am happy.  These are quite small works and tie in with my current theme and the Chinese sketchbook that was part of Sketch 13. Having them back from the framer, I am pleased with the work; framing always makes the work look so much better than I imagined it would.   I will deliver the works over to the gallery this afternoon; I plan to take all ten of the small paintings as well as some of the small drawings that were the origins of the whole series I am working on. Then I will select the best combination of pieces for the balance of the whole show.  I think it is important with a group show that the pieces work as well together as they possibly can.  I am showing with Sally Taylor and Lyn Wait who are both artists that I respect enormously.

A small selection from the work I will be taking to Priestley's this afternoon:

Connect, acrylic and mixed media on board

Fabricate, acrylic and mixed media on board

Song, acrylic and mixed media on board

Small drawing: The Departed series

Heart drawing

Meanwhile on the home front, things are gradually being finished off; I now have cupboard doors with the knobs on in my new porch as well as architrave and skirting boards.  Upstairs, as I type this, the architrave and skirtings are going on in our new shower room.  There are still some things to do but everything is coming together nicely.  After such a long slog, living with chaos all over the house and having to halt at one stage because we ran out of money, it is such a relief to see this stage almost completed.  I will have to do quite a bit of the decorating myself to save money.

The most exciting thing - our garden is finally about to get the hard landscaping  and turf laid! This is a real landmark in the whole process; we have lived for years with rough stones covering up the mud while the building work has taken place.  Again, we don't have much money for this but going along with our ethos of re-using materials, we have been lucky to find quite a lot of different types of slabs from kind people who were happy to donate them to our cause and glad to be rid of them in exchange for a fruit cake.  Mixed in with our bricks reclaimed from the build and some gravel, I think we are going to have a really lovely out-door space.  We have spent every weekend available clearing the garden in readiness.  There is still quite a bit of work to do but this weekend should break the back of it and I'll do the rest when I can next week, in between delivering the paintings to York and sorting out the hanging.  Exciting times indeed!

The courtyard area at the back of the house, finally cleared of all the building rubbish, ready for the hard landscaping and herb beds to be constructed.

We have a deadline for all this work in the garden; Pete's party in August.  There really is nothing like a deadline for getting things done.  We are looking forward to being able to enjoy the fruits of our labours after a very long and at times, bleak process.

I have no further exhibitions lined up for this year, which to be honest, I am quite glad about because it will give me time to do more work in the house, the garden and in the studio, to prepare and make the prints and artists' books for a submission in October.  That's do-able aint it?  !



Links to the artists I have mentioned in this blog:

Bridget Askew: www.bsaskew.wix.com/artist

Catriona Stewart: www.catrionastewart.co.uk

Sally Taylor: www.sallytaylor.net

Lyn Wait: www.lynwait.net

(Bridget Gillespie does not currently have a web site)

All rights reserved, images copyright the artist and PH Gough

Work Delivered and Unpacked!

Wrapped and ready in the studio for transporting to the gallery.

Work all delivered safely to the gallery today, without mishap.  The van driver was extremely nice and helpful.  As was my husband; both our cars were full!

The stretcher from Bird and Davis had been safely delivered to the gallery a couple of days ago and I unpacked it and began to put it together but I'll need my trusty assistant Mr Dalton to help me finish assembling it because it is very large and unwieldy.

I seem to have made The Gallery at Ryedale Folk Museum look very small . . .

There will be some serious editing taking place tomorrow!

First Full Working Week: Thursday

First layer of gouache studies for large paintings, Marking time: Winter, Autumn, Summer, Spring

I'm finding it difficult to concentrate today, my head has been pounding and have felt generally below par.  I hope I am not coming down with the cold of doom that all my neighbours have been suffering from.

Forced myself up onto the new landing/studio space that I have commandeered at home so I can work in the warm and started 4 small colour studies in prep for large paintings to be begun later this month.  I am not a great one for too much planning or mapping out of works; I tend to have some colours, gestures and general compositional ideas in mind and then let the works develop on the canvas, building up the layers, obliterating bits and allowing other bits to remain, as I go so we shall see how this works out!

The sky was nice today and I spent some time just gazing at it instead of getting on with what I should be doing, oh, and I stuck upon the wall the drawings I have been working on so I could see them properly too.  

The winter landscape has been a major influence on the current drawings, both in terms of texture, colour and the mood of decay/end of things:

  More photos on:  http://www.facebook.com/SueGoughArtist

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Today's Images

Small drawings begun and photographs of the hedgrows that I wanted to catch before the leaves were blown from their stems. 

What caught my eye about these hedges was the line of bright yellow at the tops, caught by the light.  When I originally saw them, they were against fog and even more remarkable.  I am going to make a few colour studies of these ideas this week.

 

 

 

None of the drawings are finished yet. They are made with graphite, ink and emulsion paint. The tally marks form a grid; the words, relating to the passing of time, flow more freely over and under it. The layers will be built up until I reach a point at which I am satisfied with the surface created.

 

 

 

 

 

 

 

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