Comments on: Abstract Art on This Summer http://abstractcritical.com/note/abstract-art-on-this-summer-2/ 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: Pete Hoida http://abstractcritical.com/note/abstract-art-on-this-summer-2/#comment-221980 Tue, 20 Aug 2013 09:08:13 +0000 http://abstractcritical.com/?post_type=note&p=7253#comment-221980 The paintings referred to can be seen on Graham’s website: http://www.grahamboyd.co.uk
‘Hibernation’ is in the medium Gallery and ‘Prospectus’ in the large Gallery

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By: Patrick Jones http://abstractcritical.com/note/abstract-art-on-this-summer-2/#comment-218636 Fri, 16 Aug 2013 08:45:10 +0000 http://abstractcritical.com/?post_type=note&p=7253#comment-218636 I am about to host the Annual Open Studio at Coombe Farm in East Devon on the weekends of the 24th and 31st August.The link is to my website PatrickJonesAbstractArtist.com At RAMM in Exeter there is a terrific Gillian Ayres show.How do I post photos of each?

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By: Pete Hoida http://abstractcritical.com/note/abstract-art-on-this-summer-2/#comment-217706 Thu, 15 Aug 2013 14:00:19 +0000 http://abstractcritical.com/?post_type=note&p=7253#comment-217706 “an experience of a strange and unfamiliar pleasure” a visit to Graham Boyd to pre-view his forthcoming open studio show – and to the Rickmansworth Artistsmeet exhibition.

I don’t want to say Charlie’s dead, but here’s those falling leaves again. Nobody likes autumn that much. That’s the worst of it. Because at best Boyd shatters expectations. The collaged bits of canvas from old discards oddly cut, are so well-pressed into the deep saturated bed of acrylic that you’d hardly know that they weren’t spatula’d-on paint. These are in lush colours on interestingly modulated coloured grounds. And when well-placed in contrast to loosely painted only-just-not-bare cotton duck, they sing. The canvas, in the pictures that succeed, presents itself to you as a unity. A unity of that which you didn’t know you’d find beautiful. Or do you? These are the robust questions that Boyd’s paintings pose, confront you with; you can’t move on because you simply don’t know. This is the destruction of suppositions.
Caroline Hislam and myself played out our usual exhibition visiting exercise of which one would you take. And agreed upon same two works independently. Oddly enough on leaving Graham’s studio he pressed upon us two postcards illustrating the same two paintings. In
Hibernation 2012 a slightly jagged geometric slice of cake holds the nearside (left) edge. Just a sliver of six inches or so long, an inch wide, is cut from the overall ground of oxide on the edge to the left of this. Graham knows when too much is too much. To the right a bowl shaped line is scraped in the ground and the hollow filled by Hoyland-like palette-knifed dim sky blue; and throughout, indented into the surface, his ill-favoured leaves have become more emphatically object-like incidents of colours. Colours lush and interesting with hints, streaks, and tints of other colours that a hairdresser might have been asked to provide streaked into it, left evident. And I mean this as a compliment. This painting avoids the left/right top/bottom diagonal opposition of incidents that sometimes mar the lesser works. In Prospectus 2012 a peachy (with hints of mango, cherry and exotic fruits) slurred rolled ground is cut into from the top-left by a lemon against grey, a difficult combination to bring off (Heron could do it as well) almost patterned jagged block of thinly applied paint. And to the right a beautiful black on light turquoise brushed expressionistic signature-like emblem (Gottlieb at his best ?) carried out with consummate ease. One could go on to describe the number of elements, each distinctive, and in this painting unapologetically attractive pieces of collaged material. These all serve to bring the ground to the fore with a force equal to that of the applied incidents and elements described, thus constructing an achieved unity that makes a viewing of these works an intellectually stimulating experience. And at the same time an experience of a strange and unfamiliar pleasure.

hibernation.htmlprospectus.html

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By: Sam http://abstractcritical.com/note/abstract-art-on-this-summer-2/#comment-217598 Thu, 15 Aug 2013 12:18:31 +0000 http://abstractcritical.com/?post_type=note&p=7253#comment-217598 If there were enough I’d be happy to make an updated list which included them…

Or do you mean postings on the site in general? Am slightly hampered by the location of my contributors, but if you know any ‘regional’ reviewers send the info to the info@abstractcritical.com address…

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By: Robin Greenwood http://abstractcritical.com/note/abstract-art-on-this-summer-2/#comment-217591 Thu, 15 Aug 2013 12:11:28 +0000 http://abstractcritical.com/?post_type=note&p=7253#comment-217591 Maybe people around the regions could post them up here in these comments, with a link?

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By: John Pollard http://abstractcritical.com/note/abstract-art-on-this-summer-2/#comment-217547 Thu, 15 Aug 2013 11:14:30 +0000 http://abstractcritical.com/?post_type=note&p=7253#comment-217547 Thanks for this round up Sam. Perhaps we could also get more postings about lesser known but relevant exhibitions around the regions?

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