Comments on: Brancaster Chronicle No. 10: Anne Smart Paintings http://abstractcritical.com/article/brancaster-chronicle-no-10-anne-smart-paintings/ Abstract Critical is a not-for profit company aiming to establish a new critical context for all generations of artists involved with ambitious abstract art. Sun, 09 Nov 2014 17:23:33 +0000 hourly 1 http://wordpress.org/?v=3.9.2 By: Dyan Ross http://abstractcritical.com/article/brancaster-chronicle-no-10-anne-smart-paintings/#comment-829902 Mon, 01 Sep 2014 23:01:26 +0000 http://abstractcritical.com/?post_type=article&p=8489#comment-829902 Rich, intense, opinionated discussion about Anne Smart’s beautiful paintings. Helga Joergens-Lendrum seemed to intuitively dissect Anne’s process after the event and her observations added so much to this critique. I wish I’d experienced such generous and stimulating argument from peers during my MFA crits; it would have helped so much.

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By: Noela http://abstractcritical.com/article/brancaster-chronicle-no-10-anne-smart-paintings/#comment-827612 Mon, 01 Sep 2014 10:03:15 +0000 http://abstractcritical.com/?post_type=article&p=8489#comment-827612 I think you made an important point about working and relating to paintings on an individual basis. When there are series of works it can be very easy to get caught up in style, as a viewer as well as a painter. It can often be an easy option to just start another piece, if things aren’t working out, and then run the risk of sometimes diluting the concentration of what is trying to be achieved. There is often only one , or two if you are lucky, stand out pieces in a series (speaking personally,not about Anne’s work).

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By: John Pollard http://abstractcritical.com/article/brancaster-chronicle-no-10-anne-smart-paintings/#comment-827518 Mon, 01 Sep 2014 09:28:19 +0000 http://abstractcritical.com/?post_type=article&p=8489#comment-827518 Well worth another think about these conversations about Anne’s excellent work. I still stick by what I said on the day about the issue of ‘style’ and ‘value’.

‘Broiderie Landings’ was, for me, the stand out painting of the group because it worked as an individual object. And I don’t think it is any easier to do a piece like this than a piece with a more obvious stand out area. I also think that ‘Broiderie Landings’ does have the range of tone/contrast that the others have but it is much more subtle.

I realise it is a relevant question as to whether a style/type of painting is more ambitious, or original, but not so much for me as it is for others. Perhaps ‘Broiderie Landings’ is more unusual as an abstract work due to its subtle complexity. Interestingly, it felt the least abstract of the works, but I don’t think this is a problem.

This conversation, and Anne’s paintings, reminded me that I very much judge paintings on an individual basis. Once you start grouping work, equating style with value, you risk taking your eye off the quality of the individual object, and you are more likely to bring in outside influences on the work you are creating.

And, for me, the allure of abstraction is that it can encourage you to lessen external distractions and influences, leaving yourself and the object to a dynamic co-creativity, and here there seems to be greater freedom and greater possibilities, albeit with more uncertainty and anxiety.

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By: Patrick Jones http://abstractcritical.com/article/brancaster-chronicle-no-10-anne-smart-paintings/#comment-825634 Sun, 31 Aug 2014 19:32:40 +0000 http://abstractcritical.com/?post_type=article&p=8489#comment-825634 This was a truly inspirational day ,seeing Anns paintings and Tonys sculptures.The Chronicles experience ,of which I was the last artist ,in Bristol last weekend,seems to me now to be amounting to more than the sum of its parts.The generosity of dialogue between artists and critics about the work on view is something I have been looking for for years.The healthy ego which is so essential to be a surviving artist, is quashed to allow critical feedback which I found extremely valuable.Already it is unique in the english art world for its specificity,maybe it will have a broader and more far-reaching effect as artists benefit from each others insight.

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By: Peter Stott http://abstractcritical.com/article/brancaster-chronicle-no-10-anne-smart-paintings/#comment-817242 Fri, 29 Aug 2014 12:08:05 +0000 http://abstractcritical.com/?post_type=article&p=8489#comment-817242 The search for aliens carries on.

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By: Antoinette Jacobson http://abstractcritical.com/article/brancaster-chronicle-no-10-anne-smart-paintings/#comment-815061 Thu, 28 Aug 2014 20:34:37 +0000 http://abstractcritical.com/?post_type=article&p=8489#comment-815061 So great to read these comments and hear you all again. Just wish I could see the paintings in real. Computers and internet don’t quite allow that. There was an American woman in the early 1970s who worked near Bennington, I don’t remember her name, I think she died.. I wonder if she was married to Phillip Wofford.. She painted very white paintings with color coming through, which I remember liking alot. Maybe more translucent and misty than Anne’s which seem so earthy.

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By: John Bunker http://abstractcritical.com/article/brancaster-chronicle-no-10-anne-smart-paintings/#comment-814271 Thu, 28 Aug 2014 13:53:10 +0000 http://abstractcritical.com/?post_type=article&p=8489#comment-814271 Really enjoyed the dialogue here. It feels punchy, upfront and honest. Proves the work must be up to something to get such strong contrasting opinions!

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By: Noela http://abstractcritical.com/article/brancaster-chronicle-no-10-anne-smart-paintings/#comment-814244 Thu, 28 Aug 2014 13:41:51 +0000 http://abstractcritical.com/?post_type=article&p=8489#comment-814244 Exciting discussion about some beautiful looking work. Anne’s last Brancaster paintings seemed to be much more about white, whereas these works seem to have strong colour squeezing through. On screen the paintings that immediately stand out for me are;’ Boy Boy Boy ‘ with its great feeling of movement , green motoring in from the left , central broken passages of blue and yellow spotted area spreading from the right; ‘Logie La La’ seems to have some satisfying dark punctuations and I enjoy the way the acid yellow and warm yellow wanders around the surface; ‘Broiderie Landings’ looks so rich and almost seems to have a marbled intensity in places, a painting one could always find something new in. The scale would make these works pretty impressive I imagine. There seems to be an ‘overallness’ with directional sections within.

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