Ravages of Time

An exhibition of some of the work from my semester 3 assignment are on show at Village Walks Art SpOts, Poulton le Fylde until 27th February. Further information on the Art SpOts website.

Work In Progress

A new exhibition "Work in Progress" has opened at The Village Walks Art SpOt, Poulton le Fylde, entrance is from the Teanlow Centre carpark between the Post Office and Ethel Austins.

The work on show is taken from my third semester assignment. This is an exploratory/experimental assignment designed to encourage the establishment of a"fine art identity". My work was based on a theme started in my foundation degree, fundamentally associated with perception. I am exploring how far the information in an image can be reduced in the face of increased noise. I took as my motif the portrait of an elderly gent who I call Jack. I photographed him, with his permission, some time ago in the Cafe at Blackpool Zoo. He was recovering from a bad turn on the "Chara" from Burnley, I think it was. However, he has a very characterful face.


Large Tiled Poster (1500 x 2100 mm)

• This started as an A3 size piece of work. A photocopy of the image was varnished and subject to a "Crackelure" finish in black acrylic ink. This image was sliced and enlarged using a piece of freeware, PosteRazor printed as 25 x A3 slices mounted on 4mm MDF.

The idea was to subject the portrait to a range of experimental processes to create a dilapidated, weathered presentation in which the face would, to varying degrees merge with the background until unrecognisable. We had to approach the task initially using painting, drawing and a combination of both. Working in 3D and life size and finishing with a representative body of work incorporating all, some or none of the foregoing. Oh yes and we had to create an animation based on an aspect of this work.

On show at the Art SpOt exhibition are the 3 pieces from my body of work, shown here. The life size work, which was recently on show at the Grundy Art Gallery. A pencil drawn work in the style of Frank Auerbach A spray paint stencil over pieces of torn poster, harvested in Manchester. And a very experimental piece, a stencilled image carved out of painted plaster in the style of the young street artist VHILS (Alexander Farto) who I admire enormously.


Stencil on Plaster (600 x 840 mm)

• The stencil was created from a posterized image, traced onto a ground of plaster painted black. The plaster and paint were scratched back to create the effect, finished by spraying with dilute acrylic paint. The old frame was found in a charity shop and once contained a mirror.
  

This a stop frame animation made of the process of creating the stencil on painted plaster.




Torn Poster Stencil (approx 700 x 900 mm)

• Using a similar stencil to the previous work, the image was created with acrylic spray paint over a background of torn posters, harvested from a billboard in Manchester.

Ravages of Time at the Grundy Art Gallery

A brief Exhibition ‘Work in Progress’ by 1st & 2nd Fine Art Students is currently showing at the Grundy Art Gallery Blackpool until 30th January. This show has been squeezed in between main exhibitions. An opportunity for students to create a gallery based installation.

My contribution is an adaptation of a piece of work I created for my last semester assignment. Based on a large poster approx 8 ft x 4 ft I have created a floor tile piece. Ravages of Time explores the metaphorical connection between urban decay as portrayed by fading and peeling signs, crumbling plaster, torn posters etc. Something so commonplace we fail to notice day today. And the way our elderly citizens become increasingly invisible to those around them.

The work is an enlargement of an A3 size piece which experimented with the combining of a photocopy of a photograph with a crackelure stressed effect created with PVA and acrylic ink. The images was enlarged x 25 from A3 using PosterRazor, freeware which enlarges the image and creates slices in this case each A3 in size in a PDF format. These are printed off and in this case fixed with adhesive to A3 size pieces of 4mm MDF and reassembled as a tiled image displayed on the floor.


Ravages of Time - Alistair Parker

The Ghost Village Project

Check out this short film, a gaggle of graff and street artists who travelled to a Scottish village allegedly built for oil platform construction workers that has been abandoned by all humanity and turned it into an art gallery.


Relatively unknown until recently, when it featured in the media with news of its forthcoming demolition and residential redevelopment, the village of Polphail was created during the 1970s to serve as accommodation for workers employed ont a concrete oil platform construction project to be based at Portavadie.

Despite millions of pounds of government money being poured into the development, both its concept and product were deeply flawed, having been rushed in order to cash in on the oil boom of the the time. The construction yard was never completed and never came close to production. The accommodation was never occupied and never saw a single resident. It did leave behind a hole, which we have seen referred to as the “biggest man-made hole in Europe” (but we haven’t been able to verify this one). The site was abandoned and has lain derelict ever since, and became the subject of a public enquiry.

Portavadie currently serves as the terminal for a CalMac ferry connecting with Tarbert, across Loch Fyne, and has seen a fish farm developed in the multi-million pound hole that was created where the concrete platform legs were supposed to be constructed. A marina opened in the mid-2000s, and a brand new facilities building opened there in May 2009, containing toilets, showers, bar and restaurant. Although there have been a number of proposals to develop time-shares on the Polphail site, none of these ever materialised, but a few holiday cottages have been built nearby.

However, progress was made in 2009, when a plan to create up to 270 home on the site was announced by the owner, and demolition of the original Polphail accommodation was scheduled to begin in following December.

Thanks to media coverage of the development, the site came to the attention of a group of artist known as The Agents of Change. Although they are graffiti artists, this in not a group kids running around with cans of spray paint vandalising the streets and tagging any clean surface, but are well-established artist, and in their forties. Having seen the derelict village in the news, they got in touch with the owner requesting permission to carry out a project in the village, and were pleased to receive a positive response to their enquiry, provided they were prepared to pay homage at hallowed altars such as Elfin Safety.

The arrival of the six artists involved was generally well met an appreciated by most of those who live near the village, who said the artwork made a welcome change from their usual view of the drab grey concrete of the decaying ruins which they have had to look at for some forty years.

Blackool & Beyond - Village Walks Art SpOt

An abbreviated version of my recent Solaris Centre exhibition is now on display at The Village Walks Art SpOt, Poulton le Fylde. Entrance between the Post Office and Ethel Austins.

Inspiration for my work is derived from many sources. I am attracted by the images created by the passage of time and the layers of history that form as a result. Recording vestiges of memories fading into uncertainty.

Blackpool is a town trapped between its history and its future. I have been recording the changing face of Blackpool for many years. I find beauty and inspiration in the fading infrastructure and once glitzy façade. My current work endeavours to capture the feeling of deterioration, dilapidation and decay that lies just behind the flashy frontage. Images so familiar that often we fail to notice them any more.

This work could be seen as a metaphor for the way we view the older members of our community. Something decrepit and insignificant to be ignored, rather than a valuable resource to be respected and cherished.

A reminder of how easy it is to pass-by aspects of our everyday surroundings without even seeing them. This work is intended to provoke thought and ask questions.
The work employs an intriguing mix of photography, digital interpretation and experimental fine art process which results in a unique work of art.

More art at www.alistairparkerart.com

Art History Archive

Came a cross this resource and thought you may be interested, Art History Archive. Lots of links to other archives.

Saatchi School of Art - What the Critic Thought

You may not always agree with the Times TV critic A A Gill, after all he does think he is Jeremy Clarkson with brains! But on this occasion his I found his view of the Saatchi X factor wanabee programme quite amusing. His comments about Duchamps Urinal was particularly apposite. I make no apology for reproducing it in full.

A.A. Gill, Sunday Times 29th November 2009:-

Right, that’s it. I am unilaterally and with prejudice proclaiming an anathema on
R Mutt’s bloody urinal. It’s wheeled out for every feeble-brained, finger-snapping, zeitgeisty art programme as a sort of shibboleth, a totem. I’ve been shown it three times in two weeks, and it was predictably used to explain contemporary art in last week’s School of Saatchi show.

Let’s get something straight about Marcel Duchamp and his pissoir fountain, the Rosetta Stone of all modern art. It was a joke; it wasn’t even shown in a gallery. Duchamp liked puns, funny names and bawdy humour. He is famous for his ready-made found objects, which he placed incongruously — a bicycle wheel on a stool, or a commercial pot-holder. The simple point of the joke is that a urinal in a lavatory is there to be peed in, but a urinal in an art gallery is there to be talked about and genuflected over for a century.

Duchamp was a bit half-hearted about art; it was a hobby, really. He got fed up after a bit and devoted most of his life to playing chess. He even carved his own set, except for the knight, which he had to get a craftsman to do. He did take 20 years to create one last secret piece. It has to be viewed through a peephole. It’s a headless woman with the full Hollywood pudenda, holding an oil lamp in a landscape. You can see it in Philadelphia. Now, no art smarties ever hold this up as an explanation for all of contemporary art, although it is far more disturbing and difficult than the unplumbed bog. Duchamp was rediscovered in the 1960s, when his found objects offered some post-hoc heritage for a lot of artists who were bored with the mechanics of making stuff.

I’ve given you this patronising pocket lecture because I’ve just been patronised for an hour by the judges on Saatchi’s art series. Yes, the young wannabe artists are made to perform like contestants in The X Factor. (They are all Jedward.) This format has already been inflicted, disastrously, on design, with that old singing teapot, Philippe Starck. The obvious difference between performing and making is that one belongs on television as its natural habitat, and the other doesn’t. Art is mostly solitary and a rather mad occupation. There is also a sadder, uncomfortable truth about artists in this programme: they are mostly very, very dim. In fact, being dim may well be a prerequisite for the calling. I say this as someone who has practised as one for most of his life; and I’ve worked in a gallery as an art critic and catalogue scribe. There is something in purely visual creation that works best when disengaged from intellect. The less you think, the more you look, the better. For every polymath Leonardo, there are dozens of thuggish Caravaggios.

The judges in this heightened reality show constantly asked the proto-artists what they thought they were making, and to explain why what they did was art. None of them could form a rational or even coherent sentence. This doesn’t make it a bad programme. Indeed, it’s rather a fascinating one, but for reasons the producers probably didn’t envisage. It is actually a vivid evocation of the reality of contemporary art. It has become all about the polemic: an artist needs to be explained by someone else who speaks the fluent, florid art-speak that is the technical jargon of galleries. This is because the market trusts explanations when it doesn’t trust a brick. Words, you can understand; art could be a lavatory. The answer to “What is art?” has always been: “That which is made by an artist.” To further beg the question, the definition of an artist is: “Someone who makes art.” Those definitions no longer pertain. An artist is someone who is validated by one of the three Cs — a critic, a curator or a collector. Any one of these contestants could be a successful artist, but they would have to be defined by successful judges. So the interesting bit of this programme is the competition between the panel of experts for authority and memorably pithy jargon.

In fact, none of the contestants will become famous artists, because they are the found object. The art is the format; they are urinals. Charles Saatchi is a Duchamp of collectors, a creator who doesn’t create, a performer who never appears. He’s probably at home playing chess. Actually, he’s much more likely to be at home watching back-to-back reruns of CSI: Miami.

Interesting Illusion - "The Afgan Girl"

Came across this on the website Mighty Optical Illusions, took my fancy.

Creating an Artists Statement

As every artist knows or should know, you will not get any where in the art world without an Artist Statement. The problem for most artists is that the flowery, pretentious, obfuscated, prose demanded by the opinion makers in the world of art does not come naturally. Although clearly if my previous post is anything to go by some artists are truly gifted in this department.

Not to be out done I have sweated blood and shed many a tear to produce my own Artist Statement, read on:-

http://www.alistairparkerart.com

Work of Post-Art in the Age of Generative Reproduction

The mind creates, the body reproduces. In the material space, art objects are reproductions of the creations of the mind -- a mind that uses the body as a Zeitgeist to de-construct ideas, patterns, and emotions. With the evolution of the electronic environment, the mind is conceiving a point where it will be free from the body to share immersions into the parameters of the Delphic space. Work of Post-Art in the Age of Generative Reproduction contains 10 minimal quick-time engines (also refered to as "memes") that enable the user to make innovation audio/visual compositions.

measuring chains, constructing realities
putting into place forms
a matrix of illusion and disillusion
a strange attracting force
so that a seduced reality will be able to spontaneously feed on it

---

Alistair Parker's work investigates the nuances of modulations through the use of slow motion and close-ups which emphasize the Generative nature of digital media. The artist explores abstract and deteriorate scenery as motifs to describe the idea of imaginary space. Using layered loops, non-linear narratives, and allegorical images as patterns, Parker creates meditative environments which suggest the expansion of space...

You too can churn out such eloquent bilge courtesy of the The Market-O-Matic Crapometer to be found here.

Seriously if you need help in this department you may find some here, and here.

Where is Modern Art Now? - Blackpool Art Fair!

This week has seen a veritable cornucopia of art programmes on TV. Art on Your Wall, BBC2 Mon; Where is Modern Art Now?, BBC4 Wed; Ugly Beauty, BBC2 Sat and on our own doorstep, The Blackpool Art Fair at the Grundy Art Gallery till January. It was after my visit to the Grundy that the question posed by the BBC2 programme, "Where is Modern Art Now", struck me. If I had thought the BBC programme clouded by obfuscation and pseudo-ism, it had not prepared me for the Blackpool Art Fair. We expect obfuscation and pseudo-ism from art experts such as Dr Augustus Casey-Hayford and Waldemar Januszcack but not from Stuart Tullock.

I arrived at the Grundy on Saturday morning as a privileged preview ticket holder, I had a piece in the exhibition. I was looking forward to an exhibition of the work of Blackpool's artistic best. My reaction, confused and rather disappointed. What did we have here. I walked in the first gallery space to find Blackpool Art Society exhibition sparsely spread over the relatively large wall area. But where was the open exhibition? In the large gallery maybe. No, this space was filled with a strange mishmash of installations based on Blackpool Model Train Society, Blackpool Model Boat Club, Cake Decorating, Knitting, Dog Decorating and a cutting edge avant-garde conceptual art installation by Supercollider (I will come back to that in a moment). Where the hell was the open exhibition? Ah, here they are stuffed into the two small side galleries!

Why? I had trouble finding my A1 size piece of work amongst the mishmash that confronted me. The hanging was 2 to 3 works high, titled with small postal labels typed in 12 point text. Just not good enough for a Gallery of the Grundy's stature. Half an hour later with a crick in my neck and rapidly deteriorating eye sight I still had not found two pieces of work I knew should be in there. As a contributing artist I feel affronted that my hard work should be crammed into a shoe box. Particularly when the rest of the gallery is given over to work which can hardly be considered suitable for an "Art Fair"! What was the rational behind extravagantly hanging the work of Blackpool Art Soc in a huge space at the expense of the Open exhibition?

Back to the beginning, had I missed the point? Was the "Blackpool Art Fair" really one big Post-Post-Modern conceptual nay, avant-garde "Modern" art installation? Was the analist art of the hobbyist (leisure) artist, the hobby sculptors (modellers) the conceptual "true" art (Supercollider Embassy) where modern art is now! Oh, and the work of those pretentious professional and unattached arty types will make up the numbers and help fill the rest of the space!

You have to question what sort of relationship the Grundy Art Gallery is trying to foster with the local art community and the public at large. Why have they chosen to place the polarised art of Blackpool Art Soc and Supercollider at the centre of miss titled "Art Fair". Is this an effort to be even handed? I don't think so, there has to be another agenda. Questions need to be answered! Maybe a clue to the answer lies in one of the handouts I picked up at the "Art Fair" (As I have no wish to embarrass the author)

------------------------------ ---------------------- committed to the dissemination of contemporary arts practice in the town by presenting a diverse and dynamic programme of temporary contemporary art projects. ----------------------------------------------------- is well positioned to provide the community with a forum for intellectual engagement, debate, participation and appreciation. ------------------------------------dedicated to delivering a programme of exhibitions and events which reflects the diverse and dynamic nature of contemporary arts practice, embracing artists at all stages of their careers working with a wide range of contemporary issues and concerns, ----------------------------------will also act as a point of exchange between the audience and contemporary arts practice, providing a dedicated forum for engagement. ---------------------------------- aims to develop reciprocal relationships with other institutions, groups and initiatives. --------------------------------------non-profit, artist led organisation, run by unpaid volunteers motivated by an intense passion for the arts and the cultural development and regeneration of Blackpool. Through the programme of exhibitions, projects and events ------------------------ aims to make an effective and meaningful contribution to the re-development and regeneration of culture of Blackpool.

Obfuscation or what? I clearly need to update my personal statement! Why was there was no reference to Post-Post-Modernism in the BBC2 programme "Where is Modern Art Now" is Blackpool ahead of the game?

Bombin 1987

This documentary was created sometime around 1987 and aired on channel 4. It is a follow up of sorts to the 1984 BBC documentary 'Beat This' which served as an outsiders view of Hip Hop as a new New York sub-cultural phenomenon. Here Director Dick Fontaine returns to focus on the UK adoption of this Hip Hop culture and some of the conflicts created therein. To achieve this, the production chose to focus on Graffiti Art, no doubt because this element had the biggest conflict and issues to explore with its high presence, intrusion and illegality.

In those days Break dancing took centre stage in the UK but wouldn't have provided nearly as interesting debates to explore. After providing such a strong argumentative presence in 'Beat This', Brim Fuentes (TAT) is brought over to the UK as a sort of cultural ambassador of New York graffiti in a string of workshops and informal seminars. He is also put squarely in front of international main stream media's scrutiny. To which they responded in a manner of ways that at best was condescending and at worst was a down right personal attack for being a catalyst to the vandalising of Britain's culture and heritage. From here the documentary alludes to the social implications of ethnicity and poverty, and their relationship with the Hip Hop subculture.

This is where Goldie (of later Drum n Bass fame) as one of the UK premier graffiti artists makes a strong presence in his most notable early television appearance. It's his relationship and 'parallels' with Brim that really play out the rest of the documentary as the two exchange visits to each others home environments in Wolverhampton and the Bronx respectively. The film incidentally captures some of the earliest footage of significant UK protagonists such as Goldie and a pre Massive Attack 3D (not his finest hour here), as well as a noticeably limited Mode 2 and the Chrome Angels appearance at the Birmingham wall commission. However it is debatable that the producers pushed their own inclinations towards ethnicity and Graffiti here, with their focus on Goldie and Brim. It makes for interesting viewing but considering the well documented fact that the culture transcended ethnic barriers in New York and beyond, it can be held up as a particular flaw.

You decide.

Exhibition - Kiln House Gallery

Wreck #15

I have an exhibition of photography "Rot and Rust" at the Kiln House Gallery, Thornton Cleveleys, FY5 4JZ, from 7th November to 1st January.

The Kiln House Gallery is a unique gallery space, connected to Thornton's Marsh Mill Windmill.

Open Saturdays, Sundays and Bank Holidays.

Opening times:
Winter 11am-3pm
Summer 10.30am-4.30pm

The exhibition has been curated by Sue Godsiff. Sue is a second year student on the Fine Art and Professional Practice BA (Hons) degree course at Blackpool Art School.

"I have been photographing the numerous wrecks and rotting hulks that littered the banks of the River Wyre Estuary for over 4 years, remnants of a once thriving fishing industry. During this time, many of these historic remnants have been vandalised or plundered for their scrap content and some have disappeared forever. By recording these remains of the past I hope to at least preserve a memory of them.

If you have any knowledge of the history of any of these remains please post a comment."

You can see this and other work at www.alistairparkerart.com

Exhibition - Blackpool and Beyond

Solaris Centre, New South Promenade, Blackpool, FY4 1BB
8.30 - 5.00 weekdays, 10.00 - 5.00 weekends
2nd to 27th November, Entrance Free

Blackpool is a town trapped between its history and its future, decay and regeneration. Familiar memories, fading signs, torn posters, peeling paint, cracked walls and crumbling façades. Happy memories fading into uncertainty.

The work is intended to provoke thought and ask questions about our history. A reminder of how easy it is to pass-by aspects of our everyday surroundings without even seeing them. The work could be seen as a metaphor for the way we view the older members of our community. Something decrepit and insignificant to be ignored and taken for granted. Rather than something valuable, to be respected, cherished and enjoyed.

I have been recording the changing face of Blackpool for many years. I find beauty and inspiration in the fading infrastructure and glitzy façade. My current work endeavours to capture the feeling of deterioration, dilapidation and decay that lays just behind the flashy frontage.

The work employs an intriguing mix of photography, digital interpretation and experimental fine art process.

You can view my work here www.alistairparkerart.com

Map & Directions


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Tips For Artists Who Want To Sell

A quote from Time Out magazine 15th October......

• Generally speaking paintings with light colours sell more quickly thay paintings with dark colours.
• Subjects that sell well - Maddona and Child, Landscapes, Flower Paintings, Still Life (No morbid props like dead birds), Nudes, Marine scenes, abstract and Surrealism.
• Subject matter is important, it has been said that paintings with cows and hens in them collect dust. ....While the same paintings with Bulls and Roosters sell.

Interestingly one of the most common motifs at the Affordable Art Fair was cows ........

Affordable Art Fair

Suckers Tram

According to the Guardian the 2009 Affordable Art Fair proves to be a recession buster, sales exceed £100 million. Not sure how much of that is coming my way but Wills Art Warehouse managed to shift at least 4 of my pieces of work by mid-day Sunday, and the fair does not close till 6pm, so fingers crossed. The work proving most popuar was my Blackpool stuff, "Suckers Tram" was the first sale. You can see the work on sale at alistairparkerart.com.

Now it is off to Amsterdam for the next Affordable Art Fair, next week, more fingers crossed.

Frieze Art Fair 2009

My first visit to the London Frieze Art Fair was interesting and inspiring. Here is a video clip courtesy of Art Review which shows a few of the bits you may have missed, well I did.


Find more videos like this on artreview.com


By the way you can subscribe to Art Review and read the whole magazine online saving you a small fortune in subscription costs.

BIG DRAW EVENT- Video

BIG DRAW EVENT- Blackpool Art College

INVITATION
To ALL FE and HE students in ALL Departments
You are invited to take part in the BIG DRAW - MAKE A MARK event

Starts 10am Wednesday 7th October and will continue untill 15th October
at
GALLERY SPACE
Palatine Road Building

Draw, Scribble, Write, Doodle - Make a Mark

Drawing areas will be divided in to Male and Female
Alistair Parker is organising this event as part of a Feminist Studies assignment
This is an equal opportunities event

See images from the Make A Mark mural on Flickr

Exhibition - Accidental Art

Accidental Art - Layers of History: An unusual exhibition of mixed media pieces. Inspired by fading signs, torn posters and decaying buildings found in the local area. The work is mainly large format and uses recycled materials such as corrugated cardboard from cartons, newspaper, household paints. The project was triggered by my interest in the ephemeral impermanence of Street Art and draws a parallel with our inclination to ignore the elderly and their contribution to our life and history.

For many years I have photographed fading signs, torn posters, cracked walls and peeling paint. These images have now been incorporated into my artwork. I am fascinated by the layers of history represented by the urban landscape. The changing architecture, peeling paint, typography, fading and peeling layers of paint, torn posters all serving to portraying the passage of time, reflecting a history of which many of us know little.

Ever since man made his marks on the walls of a cave he has left evidence of history all around us. The work in this exhibition is based on the remaking of mans marks on the urban landscape. Using an experimental printing process which echoes the feeling of deterioration, dilapidation and decay. Likewise use of recycled corrugated packing cases as the ground for artwork adds further to the feeling of impermanence.

The work is intended to provoke thought and ask questions about our history, reminding us how easy it is to pass by aspects of our everyday surroundings without even seeing them. The work could be seen as a metaphor for the way many of us view the older members of our community. Something decrepit and insignificant to be ignored and taken for granted. When we should be considering them as a valuable members of the community and a reflection of our history.

The exhibition will be at the Village Walks, Art SpOt, off Teanlowe Centre Car Park, Poulton-le-Fylde, from 22nd September to 31st October, Monday to Saturday 9.00 am to 5.00 pm, entrance free.

If you are interested in exhibiting at Art SpOts send a CV and proposal to Alistair Parker.

Van Project

As part of the Professional Practice module for the second year of my BA Fine Art course I will be using this van to promote the Art SpOt at Village Walks Poulton and hopefully my "Art in Empty Shops" project.

The van is shown decorated with a piece of street art by B.Toy one of my favourite street artists. This will shortly be replaced with my own work.