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Mark Bradford
The Devil is Beating his Wife, 2003
Billboard paper, photomechanical reproductions, permanent-wave end papers, stencils, and additional mixed media on plywood
335.3 x 609.6 cm

Mark Bradford's abstractions unite high art and popular culture as unorthodox tableaux of unequivocal beauty. Working in both paint and collage, Bradford incorporates elements from his daily life into his canvases: remnants of found posters and billboards, graffitied stencils and logos, and hairdresser's permanent endpapers he's collected from his other profession as a stylist. In The Devil is Beating His Wife, Bradford consolidates all these materials into a pixelised eruption of cultural cross-referencing. Built up on plywood in sensuous layers ranging from silky and skin-like to oily and singed, Bradford offers abstraction with an urban flair that's explosively contemporary.

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Artist at Contemporary art gallery in London.

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View featured art exhibitions and works by Tony Swain.

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The solo exhibition of Yang Liuyi launched in Beijing on Monday. Yang began his urban creation since 2016 and is the founder of Chinese metropolitan landscape paintings. Photo: Web

Beijing is currently holding an innovative exhibition of Chinese paintings. Based on traditional landscape paintings, the artist has added depictions of Chinese cities to create brand new urban landscape works.

The exhibition presents nearly 100 masterpieces from well-known artist Yang Liuyi, who began his urban creations in 2016 and is the founder of Chinese metropolitan landscape paintings, which inspired a string of new urban painters.

Critics believe that unlike the traditional single theme paintings, the paintings give a new signal that concepts of the metropolis and nature have integrated with each other in a harmonious way.

"In those paintings the contradictory elements of the city and nature, modernity and tradition, technology and ecology are no longer a paradox. They are unified," Shang Yunju, vice chairman of the China Literary and Art Critics Association, said during the exhibition.

Yang's paintings of big cities including Beijing, Shanghai, Xi'an in Northwest China's Shaanxi Province, and Hangzhou in East China's Zhejiang, are part of a new school, known as Chinese metropolitan landscape paintings.

The works retain traditional techniques of classical Chinese painting. They still use brushes, ink and watercolors as the painting materials. They keep the depiction of the landscape, rivers, mountains, or trees, as the background. They use common tricks in structure: The mountains dissolve into clouds and earth into water, if one looks from a certain distance.

Yet the landmarks in a city are added in the middle of each painting without exception.

For example, Yang painted Guangzhou with large swathes of red kapok trees as the basic tone, and then put the city's landmark Canton Tower in the distance.

The solo exhibition of Yang Liuyi in Beijing. Yang began his urban creation since 2016 and is the founder of Chinese metropolitan landscape paintings. Photo: Web

Talking about the works, Kang Wei, editor-in-chief of The Art Newspaper in China noted that the emergence of urban landscape paintings is "not a coincidence."

"Urbanization is the historical trend of China's economic and social development. This is true from the long historical process, from modern to contemporary times. Cities have become more profound with their social and civilized landscape. Thus, Chinese paintings should certainly go with the city."

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Chinese metropolitan landscape paintings reveal influence of urbanization

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Beijing is currently holding an innovative exhibition of Chinese paintings. Based on traditional landscape paintings, the artist has added depictions of Chinese cities to create brand new urban landscape works.

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Indianapolis Speedway (2007-14) - Ingrid Calame

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enamel and latex paint on wall, 19 x 106 feet / 579 x 3230 cm, installed in "Ingrid Calame: Traces of the Indianapolis Motor Speedway", at Indianapolis Museum of Art, IN, 2007

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"I wander thro' each charter'd street, Near where the charter'd Thames does flow. And mark in every face I meet Marks of weakness, marks of woe. In every cry of every Man, In every Infants cry of fear, In every voice: in every ban, The mind-forg'd manacles I hear13"

"Thomas De Quincey was never to attain quite the affinity with London which Blake was to achieve; but his depictions of the city reveal exactly that visionary intensity which was to animate Blake's work, creating a pioneering account of urban alienation in which the solitary walker comes to symbolise the modern city."

More quotes...

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"I wander thro' each charter'd street, Near where the charter'd Thames does flow. And mark in every face I meet Marks of weakness, marks of woe.

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World Map 2001
Acrylic ink on world map
123 x 175 World Map (detail) Europe Map (Green) 1999
Acrylic ink on map of Europe 107 x 110cm Untitled (A-Z) 2001
Acrylic ink on A-Z pages
39.9 x 44.8cm Waterfall 2015
Watercolour on archive digital print
21 x 33 cm Quarters 2010
Acrylic on world map
5…

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George Shaw was born in 1966 in Coventry, UK. He obtained his Bachelor of Fine Art at the Sheffield Polytechnic in 1989, as well as a Postgraduate Certificate in Education in 1992. Six years later, he successfully graduated with a Masters degree in Painting at the Royal College of Art, London. George Shaw paints the outskirts and woods he grew up in with passion and fastidious realism. His paintings seemingly freeze a dramatic moment in time - whether it has just passed, is about to happen, or is happening right now. Any human presence is only declared...

George Shaw was born in 1966 in Coventry, UK.

He obtained his Bachelor of Fine Art at the Sheffield Polytechnic in 1989, as well as a Postgraduate Certificate in Education in 1992. Six years later, he successfully graduated with a Masters degree in Painting at the Royal College of Art, London.

George Shaw paints the outskirts and woods he grew up in with passion and fastidious realism. His paintings seemingly freeze a dramatic moment in time - whether it has just passed, is about to happen, or is happening right now. Any human presence is only declared by some litter, a tramping of leaves, or a row of garage units worn down by time. His paintings of the village Tile Hill are so accurate that they can be recognised via Google Earth.

Just as remarkable is George Shaw's favoured medium, Humbrol enamel paints. Normally used to paint model trains and aeroplanes, the thin liquid is very difficult to manipulate but gives his paintings an almost photographic appearance. As enamel has no historic associations, using it as paint distances George Shaw from being a mere landscape painter, while simultaneously joining and modernising a great tradition.

George Shaw's work is part of several major collections, including Birmingham Museum & Art Gallery, Birmingham; British Council, National Museum of Wales, Cincinnati Art Museum, Ohio, Olbricht Collection, Essen, and the Tate Collection, London. In 2016, George Shaw finished his two year residency at the National Gallery, London, with his acclaimed exhibition My Back To Nature.

George Shaw lives and works in Devon, UK.

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George Shaw was born in 1966 in Coventry, UK. He obtained his Bachelor of Fine Art at the Sheffield Polytechnic in 1989, as well as a Postgraduate Certificate in Education in 1992. Six years later, he successfully graduated with a Masters degree in Painting at the Royal College of Art, London.

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Artist page for Carol Rhodes (1959 – 2018)

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The Scottish Gallery, Edinburgh: Kate Downie - Growing Forms, Hannah Mooney - Notes From The West | Artmag | All The Arts In Scotland

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2 - 26 Oct The Scottish Gallery is hosting two exhibitions in October: Kate Downie's paintings and drawings convey her fascination with engineering and natural forms, while Hannah Mooney's landscapes capture the light of the Irish west coast.

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Although not based on architectural elements of structures these works do have a sense of something man-made and structural and the process of making is through using a structural metal cubic scaffold which canvas is stretched around.

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Townscapes » Photo Paintings » Gerhard Richter

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The concept for the exhibition, Travelling Vicariously: The High Line, stems from two years of sharing photos with a close friend living in New York City. With the intention to travel in March 2020 postponed indefinitely, the concept for the exhibition evolved from an archive of hundreds of images sent to me, with particular attention of the High Line.

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John Virtue | Associate Artist | National Gallery, London

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Read a short biography of John Virtue, Associate Artist at the National Gallery, from 2003 to 2005.

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Auerbach was born in Berlin of Jewish parents; his father was a lawyer and his mother a former art student. In 1939 he was sent to England to escape Nazism. His parents, who remained behind, died in concentration camps. He spent his childhood at a progressive boarding school, Bunce , at Lenham near Faversham, Kent, a school for Jewish refugee children. During the war years the school was evacuated to Shropshire. He attended St Martin's School of Art, London, from 1948 to 1952, and studied with David Bomberg in night classes at Borough Polytechnic. It was during this period that he developed a friendship with fellow student Leon Kossoff. Auerbach studied at the Royal College of Art from 1952 to 1955. He has used three principal models throughout his career: his wife Julia, who first posed for him in 1959; Juliet Yardley Mills ('J.Y.M.'), a professional model whom he met in 1957; and his close friend Estella (Stella) West ('E.O.W.'), the model for most of his nudes and female heads prior to 1973. Rarely leaving Britain, he lives and works in London and has had the same studio since the 1950s.

The dealer Helen Lessore at the Beaux-Arts Gallery, London, gave Auerbach his first solo show in 1956. He was criticised for his thick application of paint, but found support from the critic David Sylvester, who wrote of 'the most exciting and impressive first one-man show by an English painter since Francis Bacon in 1949'. Sylvester countered remarks by various critics that the artist's work was closer to than to : 'in spite of the heaped-up paint, these are images, not sculptural ones, have to be read as paintings, not as polychrome , and make their point just because their physical structure is virtually that of sculpture but their psychological impact is that of painting' (Sylvester, 'Young English Painting', The Listener, 12 January 1956). Kossoff later echoed these sentiments: 'in spite of the excessive piling on of paint, the effect of these works on the mind is of images recovered and reconceived in the barest and most particular light, the same light that seems to glow through the late, great, thin Turners ... an unpremeditated manifestation arising from the constant application of true draughtsmanship' (in Frank Auerbach, exhibition catalogue, Arts Council, Hayward Gallery, London 1978, p.9).

Auerbach exhibited regularly at the Beaux-Arts Gallery until 1963. From 1965 he exhibited at the Marlborough Gallery. He was given an Arts Council retrospective at the Hayward Gallery, London in 1978, and had solo exhibitions at the British Pavilion in the 1986 Venice Biennale, and at the Rijksmuseum Vincent Van Gogh, Amsterdam, 1989. Group shows in which he has participated include Tooth and Sons, London, in 1958, Pittsburgh International Exhibition at the Carnegie Institute in 1958 and 1961, '54/64 Painting and Sculpture of a Decade at the Tate Gallery, 1964, British Painting in the Sixties organised by the Contemporary Arts Society in 1964, and The Human Clay, selected by R.B. Kitaj, held at the Hayward, 1976.

Further reading:
Robert Hughes, Frank Auerbach, London 1990

Terry Riggs
January 1998

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Auerbach was born in Berlin of Jewish parents; his father was a lawyer and his mother a former art student. In 1939 he was sent to England to escape Nazism. His parents, who remained behind, died in concentration camps. He spent his childhood at a progressive boarding school, Bunce , at Lenham near Faversham, Kent, a school for Jewish refugee children.

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Urban Movements - Stephanie Jung Photography

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Urban Movements on Stephanie Jung Photography

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John Egerton Christmas Piper was a British painter and book illustrator. View John Piper’s 5,109 artworks on artnet. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. See available prints and multiples, works on paper, and paintings for sa…

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Cityscapes on Stephanie Jung Photography