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I have been interested in researching Whistler's work since before the start of the start of 2nd year and is someone I find very inspiring. I found is 'nocturne' paintings of particular interest; I enjoyed his colour palette choices as well as how he composes the image and allows room for the eye to wander and discover independently. The shallowness in tonal range also forces the viewer to get physically much closer to the painting than perhaps usually. I was fortunate enough to see a couple of his Nocturne paintings at the Tate Britain last October.

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James Abbott McNeill Whistler 1834–1903 | Tate

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Artist page for James Abbott McNeill Whistler (1834–1903)

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I was inspired by George Shaw first and foremost by his subject matter in his work. I later discovered that he uses enamel paint which is something (had it not been for my financial situation) I would love to have tried out this semester- I hope I will get round to experimenting with enamel paint later in the year.

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As a multidisciplinary artist, Richter is someone I have looked into at various times over my time at GSA. I am particularly fond of his works that use a birdseye viewpoint (pictured as an example, annotated). I find these paintings of his particularly interesting as when you isolate a part of it, it becomes unclear that it is an urban landscape and you could even say it becomes somewhat abstract. Abstraction and confusion is something I began welcoming into my work last year and has become a predominant theme as I headed into third year.

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Richter officially began painting in 1962. Here we give you access to his various works, comprising photo paintings and abstracts. Although the artist intentionally avoids classification, we have placed his paintings into subjective categories for easy viewing. Show All

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Richter officially began painting in 1962. Here we give you access to his various works, comprising photo paintings and abstracts. Although the artist intentionally avoids classification, we have placed his paintings into subjective categories for easy viewing. Show All

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Bell wasn't someone I had heard of prior to attending the London trip back in October of Semester 1. I came across a few of her works at the Tate Britain and was immediately drawn to them. After purchasing a book about her, one of my favourite works would have to be 'Still Life with Wild Flowers', 1915, oil on canvas. (cont. below)

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studland beach. verso: group of male nudes by duncan grant

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Artist page for Vanessa Bell (1879-1961)

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Vanessa Bell, Sarah Milroy (editor), Ian A. C. Dejardin (editor), Dulwich Picture Gallery (host institution)

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In spring 2017 Dulwich Picture Gallery present the first major museum exhibition devoted to the work of British female modernist painter Vanessa Bell (1879-1961

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Still Life With Wild Flowers, oil on canvas, 1915

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See 'Favourite Works'

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Artist Chronology

(1922-1993)
Originally published in Richard Diebenkorn: The Catalogue Raisonné

From the Basement

A quarterly feature of the Richard Diebenkorn Foundation Archives that highlights moments in Diebenkorn's life and at times contextualizes them amongst crucial artistic and global developments of the 20th century

#Diebenkorn100

As part of the artist's centennial #Diebenkorn100 and in anticipation of a full-color, lavishly illustrated catalogue raisonné of the artist's prints to be published by Yale University Press in 2024, the Richard Diebenkorn Foundation shares interview excerpts conducted with printers who knew and worked with Richard Diebenkorn, from Crown Point Press beginning in the 1960s to Tamarind Lithography Workshop in the same decade, to Gemini G.E.L. in the 1980s.

The videos are intended to be a contribution to the study and understanding of the artist's oeuvre, highlighting his repeated and ongoing return to printmaking as a medium and will be released in full installments on diebenkorn.org in 2023.

Catalogues Raisonnés

The definitive resources on the art of Richard Diebenkorn

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The Richard Diebenkorn Foundation expands knowledge and fosters appreciation of Richard Diebenkorn's art, and to illuminate crucial artistic developments of the 20th century. The Foundation increases public access to his work and understanding of his legacy and time through support of exhibitions, loan of artworks, research, publications, archival services and digital initiatives.

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See 'Favourite Works'

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Artist page for Carol Rhodes (1959 – 2018)

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See 'Favourite Works'

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One of Britain's preeminent post-war painters, Frank Auerbach was born in Berlin, Germany in 1931. Arriving in England as a Jewish refugee in 1939, he attended St Martin's School of Art, London, and studied with David Bomberg in night classes at Borough Polytechnic. He then studied at the Royal College of Art and has remained in London ever since. His first exhibition was held at London's Beaux Arts Gallery in 1956; since then his works have become some of the most internationally collected of living artists.

Auerbach's organic, yet unified forms are deeply rooted in capturing the essence of a person or place and are often renditions of people he knows well or of the urban landscapes near to his London studio. His oils, drawings, and prints reveal an intense observation of the subject; he makes his mark with authority and finality, pushing abstraction to the limit while still capturing the very quintessence of his sitters. Known especially for his heavy application of paint, Auerbach is credited with making some of the most impressive, vibrant and intuitive portraits of the post-war years. A true draftsman as well as a painter, his graphic works his signature thick black lines and the concerted mark-making that he employs give his sitters a flickering quality of energy. For Auerbach, prints also carry high authority, as well as a sense of "magic" that he argues replaces emotion. While Auerbach has a deep reverence for the print medium, he has completed fewer than 40 editions throughout his career.

Auerbach first exhibited Marlborough in 1965. His work can be found in many public collections worldwide including the Aberdeen Art Gallery and Museum, Aberdeen, Scotland, Art Gallery of New South Wales, Sydney, Australia, British Museum, London, Cleveland Museum of Art, Cleveland, Ohio, Frissiras Museum of Contemporary Art, Athens, Greece, Graves Art Gallery, Sheffield, England, Israel Museum, Jerusalem, Israel, The Metropolitan Museum of Art, New York, New York, Museo de Arte Moderna da Bahia, Salvador, Brazil; Museo Rufino Tamayo, Mexico City, Mexico; Museum of Modern Art, New York, National Gallery of South Africa, Cape Town, Royal College of Art, London, Scottish National Gallery of Modern Art, Edinburgh, Tate Britain, London and the Southampton Art Gallery, Southampton, England. Auerbach exhibited regularly at the Beaux-Arts Gallery until 1963. 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. In 2016 there was a major retrospective of his work at Tate Britain in London. He lives and wor ks in London.

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See 'Favourite Works'

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See 'Favourite Works'

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The art of Philip Guston has been widely shown in museums and galleries. To date, it has been featured in over 130 solo exhibitions all over the world. With the work of other artists, his paintings and drawings have been included in over 1,800 group shows. A searchable exhibition database is on the homepage for the Catalogue Raisonné.

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The art of Philip Guston has been widely shown in museums and galleries. To date, it has been featured in over 130 solo exhibitions all over the world. With the work of other artists, his paintings and drawings have been included in over 1,800 group shows.

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'Still Life With Wild Flowers' by Vanessa Bell, oil on canvas 1915

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'Still Life With Wild Flowers' by Vanessa Bell, oil on canvas 1915

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I really enjoy the texture and the child-like brush marks created here. I would like to create more work in this kind of still maybe by experimenting with oil pastels and oil paint together and maybe on various scales too.

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Nocturne: Blue and Silver - Cremorne Lights, 1872, oil on canvas 53cm x 72cm

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Nocturne: Blue and Silver - Cremorne Lights, 1872, oil on canvas 53cm x 72cm

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This is one of my own photos taken at the Tate Britain at the end of November last year. Whistler's Nocturne paintings draw me in with they lack of tonal contrast and limited palette. These attributes make the painting visually very intriguing and makes the viewer get closer to the painting to get a better look.

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Nocturne: Blue and Gold - Old Battersea Bridge c.1872–5, oil on canvas, 51cm x 68cm

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Nocturne: Blue and Gold - Old Battersea Bridge c.1872–5, oil on canvas, 51cm x 68cm

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Another painting I photographed at the Tate Britain which I enjoyed for the same reasons mentioned above. I would also like to add that this one feels ever so slightly abstract from afar as the bridge reflects on the water to create interesting symmetry.

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Richard Diebenkorn, Folsom Street Variations II (Gray), 1986 Aquatint with drypoint, soap ground aquatint and flat bite

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Richard Diebenkorn, Folsom Street Variations II (Gray), 1986 Aquatint with drypoint, soap ground aquatint and flat bite

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I saw this piece on display at the 'Art on Paper since 1960' at the British Museum in November of last year. As I've been thinking about heading into abstraction with my printmaking as well as my painting, I was drawn to the texture Diebenkorn was able to create from a type of ground; a soap ground is something I have since spoken to Ian (print technician) about exploring in semester 2.

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Frank Auerbach, Tree at Tretire II, 1976, screenprint

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Frank Auerbach, Tree at Tretire II, 1976, screenprint

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This was another piece of work I saw at the British Museum in the exhibition about works on paper. I very much like the subconscious and relaxed approach to the finished result here. It almost feels like it could have been some sort of drawing exercise with different mediums- it seems naive bit with depth at the same time.

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Carol Rhodes, Airport, 1995, oil paint on hardboard, 48cm x 42cm

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Carol Rhodes, Airport, 1995, oil paint on hardboard, 48cm x 42cm

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Somethings very feel yet very ersatz about Carol Rhodes paintings, they can flit between realism and abstraction very clearly. This is something I will be trying harder to strike a balance between in semester 2.

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I struggled to find a link to a website that would let me share this video but I found a news article about Prodger when she won the 2018 Turner prize and there is a video link within the article. I have been travelling up and down to London on the Avanti fairly frequently since I have lived in Glasgow and I feel like this consistent moving has had a lasting impact on what I am interested in within my practice. I also love the mundanity that this video was filmed using an iPhone- no expensive technology needed. Videography is something I would like to explore but don't really know where to start. By showing that works of art can be made using such simple photography methods, this makes videography feel much more accessible to me.

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A series of short clips filmed on an iPhone featuring the Scottish countryside from a train window, a T-shirt on a radiator and a cat pawing at a lamp has helped Charlotte Prodger win the 2018 Turner prize.

Prodger was named the winner of the £25,000 prize by the novelist Chimamanda Ngozi Adichie at a ceremony in London on Tuesday evening.

The Glasgow-based artist has been making moving-image works for 20 years and is on many contemporary art radars. But she is far from being well known and the jury said her recent work represented a breakthrough into a new, more expansive way of working.

Speaking after her win, Prodger said: "I feel very honoured, blown away really. It's quite surreal. It feels lovely."

The artist said she used an iPhone for her work because she was on her own a lot and the phone felt like an extension of her: "Because of that ease of use and the way you can use it while you are going about the world. For me, everything is in there."

Asked what she might do with the prize money, Prodger said: "I'll live on it. I'll pay my rent and my studio rent and some bills. Maybe there'll be a little treat ... probably a nice jacket. Don't hold me to that!"

Prodger received her prize from author Chimamanda Ngozi Adichie and Tate director Maria Balshaw Photograph: Peter Nicholls/Reuters

Alex Farquharson, director of Tate Britain, who chaired the judging panel, said Prodger's work represented the "most profound use of a device as prosaic as the iPhone camera that we've seen in art to date".

Prodger, 44, won for her solo exhibition at the Bergen Kunsthall in Norway, which featured two film works, Bridgit and Stoneymollan Trail. The 32-minute film Bridgit has been on display at Tate Britain as part of its Turner prize exhibition.

The film is difficult to explain. There is lots going on, a lot of it apparently randomly. It explores class, gender, sexuality and neolithic goddesses.

Prodger filmed the work over the course of a year and included footage of her at home and on her travels. Her narration includes snatches of autobiography - coming out in Aberdeenshire in the early 90s, people being unable to tell whether she is a boy or girl, the assumption that her girlfriend is her daughter. She also quotes from Julian Cope's The Modern Antiquarian.

The artist has described the piece as being about the fluidity of identity from a queer perspective; an exploration of the intertwining of landscape, body, technology and time.

Farquharson said the jury felt Bridgit was "incredibly impressive in the way that it dealt with lived experience, the formation of a sense of self through disparate references". He said the work evoked traditions in landscape art and had psychological weight. "It ends up being so unexpectedly expansive. This is not what we expect from video clips shot on iPhones."

It took the jury more than four hours to reach its decision. "I think the jury was united in a feeling that this work was introducing something new to the filmic medium and how it is used in art," Farquharson said.

All four nominees - three individuals and a collective - made film work, all of it in some way political. Depending on your perspective, this year's exhibition was either the most wonderfully captivating in memory or the hardest work. Certainly, it is not a show that should be experienced quickly; the Tate recommends four and a half hours.

It has divided critics. The Observer's Laura Cumming called it the best in years, "by turns shattering, absorbing, beguiling, highly political, frequently momentous". Waldemar Januszczak in the Sunday Times wrote: "From beginning to end, this soul-crusher of a show is unusually awful."

The favourite of many visitors had been Forensic Architecture, a collective that has been described as an "architectural detective agency" investigating state crimes and human rights abuses across the world.

Based at Goldsmiths, University of London, the group consists of architects, film-makers, journalists, archaeologists, scientists, lawyers and software developers. For the Turner prize show, it exhibited the results of its investigations into deaths during a 2017 pre-dawn raid by Israeli police on a Bedouin village in the Negev desert.

The Turner prize, running since 1984, often exasperates and thrills in equal measure and is no stranger to controversy. The closest it came this year was protests against the artist Luke Willis Thompson, a New Zealander of European and Fijian heritage.

Forensic Architecture was a favourite of many visitors to this year's Turner prize exhibition. Photograph: Forensic Architecture/Tate/PA

Some took exception to his video work Autoportrait, a silent film portrait of Diamond Reynolds, the girlfriend of Philando Castile, who was shot dead by police in Minnesota. Thompson was accused of casting a white, middle-class gaze on cases of black suffering. A group of protesters wearing T-shirts reading Black Pain Is Not for Profit sat in protest on the exhibition sofas in September.

The fourth artist nominated was Naeem Mohaiemen, who exhibited two 90-minute films, one about a man living alone in an abandoned airport, the other about moments in the history of Bangladesh.

The winner was decided by a jury comprising Oliver Basciano, an art critic; Elena Filipovic, director of the Kunsthalle Basel; Lisa Le Feuvre, executive director of the Holt-Smithson Foundation; and the novelist Tom McCarthy.

Last year's Turner prize exhibition was in Hull. This year's was in London, and next year the circus rolls on to Margate.

The Turner prize exhibition runs until 6 January.

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iPhone film-maker Charlotte Prodger wins 2018 Turner prize

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A series of short clips filmed on an iPhone featuring the Scottish countryside from a train window, a T-shirt on a radiator and a cat pawing at a lamp has helped Charlotte Prodger win the 2018 Turner prize. Prodger was named the winner of the £25,000 prize by the novelist Chimamanda Ngozi Adichie at a ceremony in London on Tuesday evening.

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Philip Guston, Mott #3, 1959, Gouache on paper

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Philip Guston, Mott #3, 1959, Gouache on paper

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These aren't the works that first spring to mind when I think of Philip Guston however I very much enjoy his continuation of his childlike approach with his dynamic way of applying material to paper. He has also maintained a limited palette which works well compositionally.

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Film photography is something I have delved into since the start of Semester 1. For this semester my photography has been used as a starting point to use in other works such as photec etchings or photopolymers. As I gain confidence in my new skill, I would like to feel able to present photographs as fully realised works by the end of next semester and feel as those photography is a stand alone part of my practice. Here are just a couple of the photos I've taken recently which I feel are the most successful.

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Reading has become a very important thing in my life since last summer. I haven't always enjoyed reading as I have always felt that schools forced it upon everyone which made it far less enjoyable. I have found it a kind of escapism and it has also encouraged be to become more confident in my own creative writing which for now is something I am keeping completely separate from my art practice but however may subconsciously bleed into it at times. I am a believer that subconsciously everything we do with our creative energy will some how influence everything else and so I felt it was important to add this into my research journal.

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After You'd Gone by Maggie O'Farrell
American Dirt by Jeanine Cummins
Animal Farm by George Orwell
Conversations with Friends by Sally Rooney
The Handmaid's Tale by Margaret Atwood
Brick Lane by Monica Ali
Normal People by Sally Rooney
Play It As It Lays by Joan Didion
The Crow Road by Iain Banks
Norwegian Wood by Haruki Murakami
Grapes of Wrath by John Steinbeck
Men Without Women by Haruki Murakami
All Our Yesterdays by Natalia Ginzburg
The Broom of the System by David Foster Wallace
Never Let Me Go by Kazuo Ishiguro
Shuggie Bain by Douglas Stuart