Studio visit: Callum Innes

Image (and more) via Braidwood Building Contractors

There are a couple of reasons I enrolled in Scottish art history courses this year.

1. I'm in Scotland. This should seem obvious, but just like in any other university anywhere, the history of art department at the Edinburgh College of Art/University of Edinburgh is varied in its focus and scope. It's a comparatively large department with experts in Renaissance and Middle Ages, architecture, Chinese art, contemporary art, curating, 19th century painting and the list goes on. Additionally, there are a number of professors whose expertise lies in Scottish visual culture. No matter where you are or what you're interested in, I think it's a good idea to look into local and regional-interest courses as much as possible because it's the sort of educational experience you won't be able to get anywhere else.

2. The beauty of having people who are specialized in an area that you happen to actually be in is that there are many, many more opportunities to get out and see things in person. I took a Scottish architecture course last year and was able to hop on a train to see some castles on the west coast that I was writing about for my essay. And currently I'm taking a course on Scottish art from 1960 which covers a selection of some of the greatest contemporary artists to emerge out of Scotland, and Britain as a whole, in the last fifty years.

So how does it get better than that?

3. Combine 1 and 2, and you get the best possible outcome. Not only do you have professionals who have been working in the field for decades, but in many cases the art that you're discussing is still being made by these artists. Take a professor who's been an art critic and a curator at a number of institutions around the UK and you'll find connections to artists who are top of the heap in the international art world. So when you're taking a class with one (or two) of these professors, why not let them set up a field trip to see some of the art work available in the city and visit the studio of one of the artists discussed in the course? Why not meet the artist! See his work, his process, his studio! Listen to his ideas and his feelings about his art! Get out of your stuffy library and smell the turpentine!

It's a totally different experience in a studio setting with an artist trying to put words to his process than it is to sit in a cold, academic room in front of a PowerPoint presentation, trying to theorize why it looks the way it does. There are merits to both, but I think one of the key things to understand as an art history student is that there are two parts to that: the art and the history. There can be very, very different ways of looking at the subject as a whole.

Taking an extremely long time to get to my point, last week we visited artist Callum Innes' studio in Edinburgh where we spent well over an hour listening to him speak about his painting process, previous projects and how he feels about his previous work, and about his artistic trajectory in general. He had an amazing top-floor studio space with tons of natural light coming through skylights. There was oil paint splattered everywhere, the smell of turps was strong, and several paintings were hung on the walls waiting to dry. Since oil paint takes a long time to thoroughly dry, some of them had been there for months already as he worked on them, layer by layer.

Callum Innes was born in 1962, studied Gray's School of Art and earned a postgrad degree at Edinburgh College of Art. He lives and works in Edinburgh, represented by galleries internationally and exhibiting his paintings in group and solo shows worldwide. Innes was nominated for the Turner Prize (the topmost annual British contemporary art prize) in 1995 and has won several other prizes. Four years ago he had an exhibition in New York at Sean Kelly Gallery which displayed a salon-style array of his watercolor paintings, and Man Booker Prize nominated Colm Tóibín wrote a short story for inclusion in the catalogue.

Cobalt Turquoise / Scarlet Lake, 2012, watercolor on paper

Installation view, Callum Innes | Colm Tóibín: Water | Colour

16 Dec 2010 - 29 Jan 2011, Sean Kelley Gallery, image via ArtNews.org

Innes' process is tied firmly to history. These are modern paintings, some of which easily harken back to, like Untitled No. 71 below, Robert Rauschenberg's white paintings or Barnett Newman's 'zips,' but he takes it a step further. Or, in effect, a step further and then another step back. For me, the crux of Innes' work is, in addition to the 'construction' or layering of paint, is the deconstruction or un-painting. He will spend hours layering on a fine, smooth layer of paint, often paired with another color on half or a portion of the canvas. He'll then use turpentine to remove a layer of color on one side, revealing again the color beneath it, but not without leaving a bit of the topcoat's history there along the edges and in the texture of the paint surface.

The watercolor paintings above are an example of two layers of watercolor paint laid down and then removed to reveal their combination after being 'undone.' 

Tate did a really fabulous TateShots visit to his studio about three years ago in which he gives a brief tour and also demonstrates his watercolor process:

Untitled No. 71, 2010, oil on canvas

Three Identified Forms, 2008, oil on canvas

Installation view, Callum Innes: Works on Paper 1989-2013

28 April 2012 - 14 July 2013, Ingleby Gallery

I was really thrilled to be allowed an a peek inside this artist's work space and some insight into his process. I encourage you to take a look at his work. What do you think? Do you like his work? Is there anything you don't like about it?

All images, unless otherwise noted, are via Ingleby Gallery, Edinburgh.

Cheers!
Kate xx

What the..?

I thought perhaps I could use this opportunity, less than two weeks before departure to Scotland, to touch again on the whole purpose of this blog, and where I see it heading in the next several months.

I started up Artsy Abroad back in May as a way to get myself prepared and into the mode of blogging before heading off to Scotland. Its primary focus was always going to be my travels and discoveries, experiences around the city, and bits and pieces of my life and what it's like to be a student of art history in one of the most beautiful cities in Europe. And that's exactly what I still intend to do. Of course, since I haven't actually been in Scotland for the last few months, this blog is obviously going to seem a bit different. But in my mind, different = totally super rad! Yes, I said rad. ;)

Don't worry! The focus will be the same. I'm still using the same, dumb 8-year old digital camera and will update in much the same way and with--hopefully--the same frequency. I hope that the change of scenery and massive change in my life's focus will inspire even better blog posts, because part of the fun of this whole blogging process is learning more about it and getting better at it as I go along.

Needless to say, I'm going to be pretty busy when I arrive in Edinburgh, and especially when classes begin. But doubtless there are going to be many other things I'll want to check out, considering I've never been to Edinburgh before! I've begun thinking about what museums and galleries there are in Edinburgh, and have filled some empty time by checking out what exhibitions are going on. I thought I'd share a few that I hope to get to eventually!

Man Ray Portraits at the Scottish National Portrait Gallery

Dressed to Kill: Fashion, Costume and Dress in Scottish Art at the City Art Centre

The Decorative Art Collections at Lauriston Castle

The Travelling Gallery Art Bus!

And probably a few galleries from this list from The Guardian.

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I'm so excited to check out all kinds of architecture, landmarks, neighborhoods, cafes and shops and so much more... and share them all with you. :) Thanks for following along!

Days to Edinburgh move-in: 12

Packers and a postgrad

I'm within two weeks until departure (13 days!) and firmly in the get-it-in-before-I-go phase. Hanging out with various people, stopping into particular restaurants, taking certain trips, and--going to a Packer game! Preseason, but still. It's Lambeau! It wasn't something I planned, but I haven't been to a game in a couple of years and the tickets were complements of my grandparents -- and club seats! Can't really turn that down. The only downside being that a can of beer costs almost $10. ;) At least it's damn good beer.



I was raised twenty minutes from Green Bay, so it's really no contest when it comes to where my football loyalty lies. Every season there's usually a game or two that I have the option of going to see, but it's been a while. So I'm happy to get a game in before I left, even if we lost big time. :(



Can't go wrong with that view... brand new stadium addition and all.

Anyway. It's not like me to go on about football, so... I won't. The Predator is about all you need to know. ;)

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As for the next couple of weeks, and what comes next: wow. Are big changes afoot or what? It's finally starting to sink in that I'll be moving abroad for a year at the very least, with no clear idea of what comes after that. But this next year will undoubtedly reveal a lot about where I'm headed, and get me on that journey. I don't particularly have one place I aspire to end up, or one thing I must do... I view my career and schooling as a series of little islands I get to hop to -- kind of like life. Here and there, for this and that. Whatever makes me happy is about where the ball stops! ;)

I've started receiving notifications of meetings and welcome events to the Edinburgh College of Art (or ECA). The week before classes begin is known as "Freshers Week" in UK parlance, but in the States is what I've always known as "freshman orientation," ie. chock full of activities, picnics, outings and getting-to-know-you events. But in my case, and other postgrads (another US-UK difference: I'm a postgraduate student, not a graduate student) mostly an opportunity to meet up for various ECA events and to prepare as much as possible for the upcoming year.

My official program title is the MSc History of Art, Theory and Display. I've chosen a few classes that I'm interested in taking, so my schedule tentatively looks like this:

Semester One:
Research Theories and Methods
Scottish Medieval and Renaissance Architecture
Internship

Semester Two:
The Cultures and Politics of Display
Rome Across Time and Space: Visual Culture and Cultural Exchanges c. 300-1300
Internship

Summer term:
Plenty of dissertation-ing

Something that I had to consider when choosing this program was whether I wanted to pursue a taught masters or a research masters. The distinction doesn't exist in quite the same way in American universities, but a taught masters degree functions similarly to an undergraduate degree where one attends classes and is assessed by group projects and a dissertation. A masters by research is one that is more independent and sets one up on a clear path to the PhD--usually with a more specific focus and independent academic approach.

Since I'm not quite sure that a PhD is the path I'd like to pursue immediately, I wanted to take a somewhat general course to get not only an opportunity for research, but vocational experience as well, through the internship opportunity. I'm not sure I'm cut out to be a straight-up academic/scholar, so the value of that vocational aspect can't be overrated. I look forward to seeing what kind of opportunities this year presents!


Days to Edinburgh move-in: 14

A painter is a kind of poet

I've been wanting to do this post for some time because I find this artist and his work pretty exciting. The artist would be Tobias Keene, and the work would be monumental! Generations, on display through July 21, 2013, is something a little bit different for this area. It's an exploration into the work of three generations of English artists, Arthur Keene, Sr., Arthur Keene, Jr., and Tobias Keene. Tobias's work is generally more exciting and appealing to me personally, but seeing all three generations' work up in one place makes for a really interesting exhibition.

The show is at The Trout Museum of Art in Appleton, WI, a small museum established in 2010 from what was previously the Appleton Art Center. It is now housed under the umbrella of The Fox Cities Building for the Arts, consisting mainly of the museum, but also now an official home and gathering places for other arts organizations in the area. 

Tobias Keene's work is what I want to focus on, largely because it's much different than what one typically finds in this part of Wisconsin. And that's because he's not from Wisconsin! Well, I never. ;)

Tobias Keene is currently based in Los Angeles, where he has lived and worked for several years. It might be an understatement to say that his work marks a departure from that of his father and grandfather. Tobias's work has an immediacy about it, a sort of run-stop quality, exemplified by the bright colors, thick textures, and juxtaposition of still-standing figures in environments that are innocently empty, abstracted, and sometimes harsh. He clearly recalls painter Francis Bacon in works such as The Orange Pope (below, top of frame), and in his use of diptych and triptych compositions.

The reason I like these works so much comes down to three things: color, scale, and expressions. The colors, for one, are vivid and explosive, and they draw you in immediately. The scale approaches architectonic, with canvases such as Black is the Beauty of the Brightest Day (Winged Victory) that span entire lengths of wall and reach from floor to ceiling. Some of the paintings clearly indicate some sort of open room, such as in The Girl in the Golden Chair #4, or Standing Red Man (not pictured). And lastly, the expressions on the faces of the subjects are just wonderful: to look into the eyes of the slouching girl in the golden chair, or the small, solemn face of the Forgotten Saint, we are drawn into their worlds, wherever they may be, past the bright colors and uneasy terrain or space they find themselves in -- we're drawn to their humanity. Even The Queen with Umbrella has a thousand words written upon her face.

And not only do you have Tobias Keene's large-scale pieces hanging around the gallery, but you get to see them in the context of his previous generations' work. His father and grandfather both subscribed to a method best described as academic--more interested in the studies of figure and movement with numerous sketches to back up that pursuit. Tobias claims he's mostly interested in painting on canvas, frankly skipping the academic drawing aspect, and it's clear that he takes a more visceral approach to his paintings. Therein lies the immediate strength, which comes through in the thickness of the paint and the expressions on his subjects' faces, or the positions of their bodies.

A few walls of the gallery are focused exclusively on Arthur Keene Jr. and Sr., and their more academic sketches and drawings. Also featured are numerous sketchbooks that visitors can page through with cotton gloves.

I strongly urge everyone interested in contemporary art, as well as drawing, to check out this show. Information on museum opening hours can be found at troutmuseum.org. Tobias has shown in numerous solo and group shows in New York and Los Angeles, including "Fresh" at MOCA Los Angeles and Earl McGrath Gallery. For more information on his exhibition history and other cool items of note, please check out Tobias Keene's website at tobiaskeene.com, where you can also find lovely images of his work.

All images taken by me; all original work by Tobias Keene, Arthur Keene, Jr. and Arthur Keene, Sr.

The left and the right...

(photo)

As I checked my email today and learned, disappointingly, that I was not chosen for one of the three major scholarships I applied to for my year at the University of Edinburgh, I realized that I have plenty of reasons to be anxious as well as excited about the upcoming school year.

My mind is made up; I'm going. I made that decision well over a year ago, but now, as we get into summer with a little over three months to departure, I'm getting that sort of anxious, curdled feeling that comes with worries and woes about money and "the future" and "my path." My right and left brain are constantly at odds: one part of me wants everything planned out ad infinitum, and the other part of me prefers to go with the flow.

I suppose there's always going to be anxiety about making any kind of life-altering decision. This masters program only takes one calendar year, which my left brain is really happy to know is totally regimented and planned, but the material point is that once I've done it, I can't really go back to the way things were/are. Student debt is a killer. And I have a hard time not picturing a giant black hole of life/career uncertainty after I graduate. My left brain wants to make sure I have a fallback plan; my right brain is sure something will work out as long as I'm smart about my choices and work my hardest. Both are probably correct.

I'm awaiting word on two more major scholarships, and one other smaller external one. Crossing fingers, but money isn't everything. If it was, I'd not have chosen to be an art historian!

Four months and counting.

The inaugural blog post!

As the title implies, I intend this blog to be artsy, and, indeed, to go abroad. I thought I'd start now, to get a grasp on things as they happen before I actually hop on the plane.

What's so artsy about it, and where are you even going?

Here's the low-down: Starting this September, I'm going to Scotland, to the University of Edinburgh-Edinburgh College of Art for an MSc in the History of Art, Theory and Display. I think that pretty much covers the whole artsy + abroad thing, however I want to take it a little further than the obvious. This is, for all intents and purposes, going to be a way to keep my friends and family updated while I'm away (in addition to my obsessive-almost-maddening presence on Facebook/Twitter/Instagram). But it is also going to be a little bit more than that.

My previous blog, Little Red Fish Little Fish Red is/was a nice experiment in blogging. However, it was random and usually directionless, and had its good days and its long swaths of nothingness. I hope to be more consistent with this blog, as it has more of a focus. Be warned that I use the term 'focus' loosely. I'd like to see this become a travel-history-art-experience-food-style-lifestyle blog. What, I'm focused!

As an art history masters student, I'll be attending (maybe even working?) arts functions and visiting museums and galleries and architectural treasures and so on and so forth... It's going to be amazing. But I'm also going to be in a city I've never been to before. Edinburgh has festivals galore throughout the year, countless pubs, cafes and restaurants, and plenty of museums, parks and landmarks to fill up a year, and then some. Not to mention the student life!!

So, first, a little reality check: I'll be leaving in almost exactly four months. Let the countdown (and the preparations) begin!