Rob Adams a Painter's Blog painter's progress

How important is history and context to art? Last night I watched a documentary that plainly thought context was everything. Simon Schama in the series Civilisation was of the view that art, specifically contemporary art, was fulfilling a visceral need and helping us come to terms with our lot of living in a deeply flawed and unjust world.

Fine sentiments, but where was the evidence for this? Well millions of people visiting to look at the stuff that is surely a good solid fact. So if we take Tate Modern which draws in 5.5 million per year, it sounds a lot doesn’t it? However London receives 19 million tourists per annum so most Tate visitors are in this category. We actually don’t know how many visitors are Londoners, very few I suspect. How many of these visitors gain some sort of moral solace from their visits? I would propose almost none. The numbers gaining gastronomic satisfaction in the cafe could be much higher I might suggest.

There are 60 odd million souls in the UK so how many of these are being reached? The answer is of course vanishingly small. If there really is this deeply seated need that Mr Schama went on about, almost none are getting it satisfied by looking at contemporary art. It is worthwhile considering that the three most popular soaps gain an audience of 1050 million people a year which pretty much dwarfs the art figures IE one 200th.

We are plainly, on average, not too keen on getting our art fix. Could this be because it is largely irrelevant to our lives? I am by the way not claiming any extra relevance for old art, it manages much the same sort of figures with the national gallery coming in at 6.5 million. So Art with a capital A is not important to us as a nation at all. It is only viewed by a vanishingly small elite, even more minuscule if we remove the casual tourist drop-ins and only consider the serious art viewers. So what sort of visual eye candy is enriching the average UK citizen’s eye on a day to day basis? Well a front runner must be packaging. Packaging is probably the most message heavy and art heavy imagery that crosses our visual field on a day to day basis.

Mr Schama was keen on showing artists that were, he thought, dealing in hard subjects of injustice and oppression. However you need to look more critically than Mr Schama who is too keen on greasy schmoozing with the artists to engage any critical faculties. There was a bit of work about refugees by Ai Weiwei. A huge black inflatable filled with black inflatable refugees. An interesting object, but does it make us any wiser about the plight of refugees? Who benefitted from its making and display? I suspect not the refugees in any practical way. Ai Weiwei and the galleries seem the greatest beneficiaries. I am not sneering at the artist’s efforts or questioning the worthiness of his intent, it is just that the making of the art has and can have no real bearing on the tragedy, it just feeds on it. If there were no tragedy there would have been no art and the object is meaningless once its context is removed and the tragedy forgotten. Imagine the same object bright pink and in a shopping mall.

Mr Shama hasn’t a critical bone in his body though. Another Chinese artist did forgettable stuff with gunpowder… I can’t even be bothered to look him up. The process and results were in my opinion laughable, a side show at best, all bang and no buck. The relevance of it all to big ideas and what it was meant to be commenting on were vague too. Our host oozed wonder and sycophantic praise at the results, which I have to admit infuriated me so much it made me shout at the telly.

In the initial program (I watched them in the wrong order) dealing with the first signs of ancient art underlined his poor thinking and dogmatism. When looking at cave drawings in Spain he averred: “These were not just works of art, but works of memory.” Her states this as a certainty. In his world our ancestor looked at the buffalo on the plain, fixed it’s aspect in their no doubt deeply shamanic mind and then scuttled down into the depths to draw these distinctly realistic looking bison. So did our ancient predecessors only make such images in caves? It seems more likely that the only surviving ones are in caves and they actually used such imagery elsewhere above ground too. Yet as artists we know that practice makes perfect… so the cave artist must have sketched on slate or bark, or skin to gain the facility to make the marks. It seems likely the artist looked at bison while doing this… it would be silly not to. Why would they not take sketches down with them? Alas no, Mr Shama believes in the magic man, it surely it could not be anything as prosaic as practice and observation producing these ritual images. Well the drawings look exactly the same as observed drawings do, so it seems perverse to propose they are anything other than just what they appear to be.

Indeed Shama seems to believe in the “an artist is a special person” theory in his bones. For him artists are there looking at the big picture, warning and chiding us to become better people. A sort of priesthood of whistle blowers calling time on man’s inhumanity to man. A race set apart seeing our weaknesses from a lofty height. Seeing significance that other poor mortal eyes cannot distinguish. Why poor old artists should be lumbered with this role rather than plumbers is beyond me. Throughout history artists have, as far as I can see, not attempted to undertake this role merely because it is not the best medium to communicate ideas or moral standpoints. Writing and speaking are the weapons of choice in this arena, not paint. Of course they have frequently been asked to “sell” moral stand points for others, but that is just a job of work.

The second in the series on the human form in art hosted this time by Mary Beard could not have been more different. She had real insights as the the connection between the objects and the cultures that produced them. She stressed that the figures on Greek vases were everyday things bringing small pleasures to people in their everyday lives. Where Mr Schama is dogmatic and so sure he himself exists on a morally superior level, Ms Beard is full of may be’s and might be’s, alive to the ambiguities rather than trumpeting personally held certainties

In the third programme Shama makes his portentous way through my own speciality, landscape. He writes well, he is eloquent, but he is also a fantasist, drunk on his own mellifluous words. He is like one of those old Disney wildlife programmes which constantly tries to see animals in a humanised anthropomorphic manner. He is, you might say, more Johnny Morris than David Attenborough. He wants to shoehorn contemporary concerns and intentions into historical painter’s minds. I suppose because he cannot imagine any other mental landscape or feels that because they were artists they must have thought that way even though none of them mentioned it at the time. A survey of landscape that misses out both Impressionism and the earlier topographical revolution in Britain is in any case fatally flawed in my view. Where was Claude Lorraine, or Constable we wonder?

I was naive in thinking it could not get worse. His meditation on colour was verbal diarrhoea, with him gurning franticly at the camera as his mostly unfounded flights of verbal fantasy were expounded. He knows almost nothing it would seem of the craft of painting. He cannot look beyond the febrile visions it produces in his own head. Never thinking for a moment that the artists and others might have differing experiences. Such is the peril of an overinflated ego.

He confuses of course the making of art with the consumption of art. An art object may of course become iconic or shamanic at any point after it is made, but this happens after the artist has dealt with all the practical aspects. The artist does not imbue an object with any iconic significance, the viewer does. We know this really, if we put Ms Emin’s bed in a twenty something’s bedroom it is prosaic. If we put it in a gallery it is significant. The bed is the same in both instances so it is the act of putting it in a gallery that added the iconic element. The actual making of the thing was irrelevant. You might say it is Ms Emin’s decision to exhibit it that was the art act. However if we consider Sigmund Freud’s famous couch, now in his museum. Which it seems to me could be considered to be an iconic object in very much the same way as Ms Emin’s bed is. Since he bought it he was the person who is responsible for its current placement and context. Now we would not think Freud was a visual artist, or indeed the couch maker, or the upholsterer. It’s significance is entirely created by the viewer and by the viewer’s prior knowledge of Freud.

There is of course no real problem with Simon, and no doubt most of his viewers, believing in fairy stories. It is however a problem if artists begin to believe it themselves. As with storytellers artists must stand at a distance from the tale they tell. Do not confuse the inner music of a musician with the landscape created by the music in a listener’s mind.

Well I’m glad to get that off my chest. Time to catch up on the watercolours…

I was here at the wrong time of day really. It does not look like it, but 6in behind my backside when I painted this is the A350… immanent threat of death by lorry certainly makes you paint fast! I have seen this view look so magical but it has to be 6am on a misty day. 9in by 6in watercolour.

In Child Okeford this is often my view in the morning coming back fro the shop with my pint of milk and a paper. I often looks wonderful so I thought I had better paint it. A very simple watercolour done in two colours and only about 4 tones. 10in by 6.5 in Watercolour.

This is the view from Eggardon hill. Quite a complex subject but a simple method. I painted all the shadow areas first taking as much time as it needed. Then I laid the colour washes over the top in big areas allowing them to wash back some of the initial shadows. Lastly I strengthened a few of the nearby darks. 10in by 8in watercolour.

Another one with the traffic uncomfortably close! This is the river Stour in full spate. I had to stand on a narrow bit of concrete on the bridge so a little rushed, but I have some great photos so I hope to do a studio one in a while. 10in by 7in Watercolour.

I can never resist this view of Hambledon Hill, it is one of those scenes that transforms dramatically with the light. Every time I pass I stop to admire it and if it looks good and I have time I paint it. 10in by 6in Watercolour.

This and the next one were done from phone snaps, but are of an interesting vantage point of Corfe Castle. A great spot and the land owner has said he is happy for us to paint there so I will be back! 14in by 7in Watercolour.

Last one hard to believe this is only a few yards from the previous view. I must go back at some differing times of day to see how it changes. 14in by 7in Watercolour.