Comments on: Thoughts on John Golding: Working Space http://abstractcritical.com/note/thoughts-on-john-golding-working-space/ 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: David Wiseman http://abstractcritical.com/note/thoughts-on-john-golding-working-space/#comment-98095 Sat, 02 Feb 2013 20:17:22 +0000 http://abstractcritical.com/?post_type=note&p=6186#comment-98095 Really pleased to see this article about John Golding whose paintings are much underrated. I was lucky to have John as my tutor at Royal College of Art 1975 and he was a sympathetic and knowlegable teacher.Myself , Micahel Major, Graham Crowley and Richard Miller worked together in a studio largely ignored by the conservative teaching staff at the time and John was very supportive of our experiments. The only problem with his teaching was that he found it difficult to be nasty! His worse criticism for a really bad painting was “its not an uninteresting painting” Missed the show as didnt know it was on so thanks for this. David

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By: Nick Moore http://abstractcritical.com/note/thoughts-on-john-golding-working-space/#comment-55457 Fri, 12 Oct 2012 08:35:37 +0000 http://abstractcritical.com/?post_type=note&p=6186#comment-55457 I am moved to make a response to the piece on the late John Golding’s 1971 paintings; I was not able to get up to London to see the show but did receive a copy of the catalogue. I was quite shocked on seeing the images, didn’t recognise them as Goldings – my knowledge of his work was of the late seventies and the eighties, painterly and energetic, such as the ones shown at the New Art Centre in 2003, and the rich one that was included in the Guardian Obituary, (F (BS) 11 from 1977) with its sensuous blends of reds, blues and yellows on the right hand side of a subtly painted yellow area on the left
Investigating further I found some other images of earlier work from the mid/late sixties, all clearly defined flat areas of paint, dare I say it quite minimal or rather paired down, and vertical in format (eg Phaestos – Green, 1965-7 and Predella, Tow Blues, 1967) and like the ones in the exhibition from 71, seeming very cool and cerebral in contrast to the later ones – a part response to the climate of burgeoning Pop sensibilities for clean lines and less ‘mess’ I assume, and a reaction against the very people he later wrote so clearly about in Paths to the Absolute; Kandinsky, Rothko, Still, Pollock.
But the interesting thing for me was that Golding became more painterly, with the work becoming visually energetic into the late seventies and eighties, in contrast to a lot of painters who continued in the ‘clean, hard edged, pattern-based’ mode and lost that overt painterliness, like Robyn Denny for example. And I don’t see these later paintings as “all shouty” with “adolescent pulling down of pants, (and) shit shock screaming horror tantrum to grab attention” …. I wonder if it is significant that he had begun to teach at the Royal College in 1971 and if this had an impact on his painting process…..
The yellow and red ones, like D (CS) VI and D VII (SK) from 1977 had something of the late forties Rothkos in them, and certainly resonated with Goldings statement in ‘Paths to the Absolute’ that “at its best and most profound, abstract painting is heavily imbued with meaning, with content” and I feel that this is most palpable in his later paintings with their felt experience more overt, rather than the earlier ones that leave me rather cold.
I would like to have experienced the group of paintings in the beautiful space at Annely Juda, as I am sure it would have been a moving experience if only because of their scale. However, I look forward to the time when a body of his work from the late seventies and eighties is shown; that would be something that I think would take my breath away.

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By: Filip Gudovic http://abstractcritical.com/note/thoughts-on-john-golding-working-space/#comment-54903 Mon, 08 Oct 2012 15:55:34 +0000 http://abstractcritical.com/?post_type=note&p=6186#comment-54903 Great article, really enjoyed the references and the short history of Golding’s career.
The work has a strong element of design and craftsmanship. Unlike Rothko, it has a much more calmer sensibility and feeling whilst it suggest much more spatial differences due to the color combinations. The color and plane effect is direct and solid while Rothko suggests depth through shades.
Looking forward to read more on Golding.

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By: Ian David Baker http://abstractcritical.com/note/thoughts-on-john-golding-working-space/#comment-54898 Mon, 08 Oct 2012 14:44:32 +0000 http://abstractcritical.com/?post_type=note&p=6186#comment-54898 Thank you for this article, I shamefully knew little of John Golding, but this made me visit the exhibition and enjoy these powerful works.

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