Art in your city

[Portobello Red]

Turner Monet Twombly: Later Paintings
Tate Liverpool: Exhibition

22 June – 28 October 2012
£12, concessions available
Link

Don’t miss Turner Monet Twombly at Tate Liverpool this summer, your only chance to see this stunning exhibition in the UK.

This ambitious exhibition brings together works by J.M.W. Turner (1775–1851), Claude Monet (1840–1926) and Cy Twombly (1928–2011), three of the most prolific and well-known artists of all time. Turner Monet Twombly: Later Paintings explores the similarities between these artists in style, subject and artistic motivation during the last 20–30 years of their lives.

Turner Monet Twombly: Later Paintings will feature iconic works such as Monet’s fabulous Water Lilies and Turner’s much loved Romantic landscapes. The exhibition will also include a major work from Twombly’s vibrant and well-received series, Blooming: A Scattering of Blossoms and Other Things, shown in the UK for the first time.

Alongside Turner’s compelling, atmospheric works and the beautiful and emotive art of Monet, Twombly’s original contemporary style adds a fresh and exciting dimension to the exhibition.

For those already familiar with the artists’ work, this exhibition is a revelation; for new audiences, it is a fascinating introduction. Not to be missed.

The exhibition is organised by Moderna Museet, Stockholm in collaboration with Tate Liverpool and Staatsgalerie Stuttgart.

[joshbc]

Street ArT in LEEDS

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P1070262-GWilson art leeds by Mark Bukumunhe, on Flickr

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The Big Lunch - Leeds by The Big Lunch, on Flickr


Good for Liverpool!....

[Portobello Red]

Liverpool
Max Black
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[Portobello Red]

Liverpool
Max Black
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[Aaronj09]

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Walking Lo Monstre by Dranny2010, on Flickr

[Boards]

'Imagine" tonight on BBC One at 10.35 about Glasgow and how it's become a global capital for contemporary art.

[Portobello Red]

Link

[metrogogo]

One of the many wicker sculptures that can be found on the Birmingham floral trail, this one is situated in the Bullring.

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P1010756 by metrogogo, on Flickr

[Brummyboy92]

I like that one, you can see the tip of a barge just below the flower arrangement.

[Delirium]

http://www.bbc.co.uk/news/uk-england-bristol-19264993

[Delirium]

Europe's Largest Street Art festival.

Graffiti's grandmasters make their mark

http://www.telegraph.co.uk/comment/9...heir-mark.html

Look out of the window of a train as it chugs through the outskirts of any major city and what you see is always the same: a raggle-taggle mixture of the backs of buildings, high wire fences and scruffy walls all covered in the tags and drawings of urban graffiti.
I try to see these complex scrawls as the artistic contribution of the disempowered to making sense of the environment in which they live. But I never quite can. These stamps of individuality always look like vandalism to me, and they depress me.

Given this, I approached See No Evil, Bristol’s festival of street art, with some trepidation. Bristol is a city with a long tradition of urban art. Its most famous son is Banksy, who started out as a spray-can tagger in the late Nineties, and ended up as one of the most famous – and wealthy – street artists in the world.

But he sprang from a thriving graffiti scene which has persisted to the point where there are online maps not only of his still-existing murals but also of other notable examples of the kind of artistic endeavour that is sprayed on the side of buildings rather than hung within. The progress of all art – whether we are talking the Impressionists or the spray-cannists – is always from outsider status, towards the established. Once galleries and collectors start to think street art is valuable, then its transgressive, dangerous edge is blunted.

So it was almost inevitable that Bristol City Council would seek to capitalise on the interest this underground scene has generated by giving street artists the unlovely Nelson Street to transform into a gigantic urban art gallery, with new works by 30 of the world’s best street artists gracing its brutalist concrete walls.

This is See No Evil, which first materialised last year, and has now, in its second incarnation, attracted support from the London 2012 festival. It is curated by Inkie, a tall, gentle-mannered, soft-voiced Bristolian, and the vicissitudes of his career seem to stand for the twists and turns in the reputation of graffiti art itself.
Inkie was once arrested in “Operation Anderson”, the world’s largest “graffiti bust”, says Wikipedia; he worked alongside Banksy in his early days in Bristol and London; then in the video games industry as head of creative design for Sega. Now he travels the world, curating shows of street art, bringing his favourite artists to wider attention – and teaching art and graphic design to children and college students.

Hearing Inkie talk about the artists he has chosen is like walking around any normal gallery with any well-spoken and knowledgable curator. He talks about his interest in Art Nouveau and refashioning the lessons of William Morris for a new generation, shown in purple and blue blocked letters, painted freehand. He points out the Abstract Futurist style of Mr Jago, whose brilliant red background is covered with fine, bright, carefully sculpted lines.
The sheer variety of style is amazing. Some efforts – like the “steampunk gothic” of the Italian Pixel Pancho, who has painted two mechanical monsters, coils twined, heads rearing – leave me cold. But others are stunning in unexpected ways.

The Irish artist Conor Harrington is best known as a painter in oils, and his massive mural here, on a building’s end behind the old city walls, has something of Bacon and Velazquez as he shows two men duelling, their swords hazes of paint, their coats richly coloured, their vigorous poses fading away to a deliberately half-finished sketch of a tiled floor.
In marked contrast is SatOne, a Venezuelan graphic artist who creates an imposing frieze of superheroes out of swirling primary colours, which, close to, look just like circular shapes. Or Chase, whose perky cartoon characters cover the walls in Venice Beach, and whose sprightly girl in a yellow dress leaps up a staircase which mimics the real staircase behind.

Chase is explicit in his desire to make art that inspires young people, that improves and enhances neighbourhoods. Man One, another US-based artist, who founded a graffiti gallery in Los Angeles, uses his fine art degree to support a number of charitable causes. But street art is now a profitable career. The fine arts graduate known as Sickboy, for example, covers waste bins with distinctive temple icons: they sell for £50,000. To the unconvinced and the underwhelmed, this is the perfect summation of the madness of the contemporary art world – both actually and metaphorically art as rubbish.

But walking down Nelson Street it is hard to draw that conclusion, or to feel anything other than impressed and cheered by the work on display. There have been some Conservative doubters on the city’s hung council, but on the ground, I found only enthusiasm from the people of Bristol for the new art in their midst. “It’s great, isn’t it?” said one woman, looking at Lucy McLauchlan’s delicate black and white plant, growing up the side of a building, in which she had found a sexual reference I had entirely missed.
“Not vandalism?” I asked. “Not at all. An improvement,” she said. What do you think, I asked my mother’s friend, in her 80s. “Oh it’s wonderful fun,” she said. “Do you like it?” I ventured to two women on the bus, held up in traffic by the festival. “Oh yes. We loved last year’s. We’re going to look again.”

If art changes the way you look at the world, then the gallery that is Nelson Street is a towering success. In fact, its only problem is the buildings on which it is painted – horrible monstrosities from the Sixties and Seventies, they need to be pulled down. But then the street artists would have nowhere to paint. So perhaps See No Evil has found the perfect way of making the best of a bad job, enhancing buildings that need it, rather than defacing those that don’t.

Photography by Sa//y

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Photography by Richard Craig
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[joshbc]

Woh, Fantastic. Thanks Delirium.

[Portobello Red]

Liverpool
Steve J O'Brien
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[Portobello Red]

Liverpool
Paul Reay
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[openlyJane]

'Roman Standard' - Tracey Emin, The Oratory, Liverpool:

[Portobello Red]

Liverpool
tuckerterrence
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[legolamb]

Fruit Market Arts Festivals (Humber Street Sesh and Freedom), Hull

[joshbc]

Fab. Photos from Fruit Market Arts Festivals in Hull, LegoLamb

[Brum X]

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[IMG][/IMG]

[openlyJane]

Newcastle: