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John Squire: Disinformation
Paintings made from digitally distorted photographs, by Stone Roses guitarist John Squire British painter John Squire (born 1962) is most famous for being the lead guitarist in the Stone Roses, but he is also a prolific visual artist--his most recognisable piece being the Jackson Pollock-inspired artwork used on the Stone Roses' 1989 eponymous debut album. This book, published to accompany an exhibition of Squire's work at London's Newport Street Gallery titled Disinformation, presents a new series. These large-scale oil paintings are based on photographs taken by the artist or found online. Squire alters the images using editing software, which he overloads to prompt visual glitches. These partially distorted, fragmented scenes are then enlarged from their original small-screen format and rendered in the traditional medium of oil and canvas. The figures blend and collide with their surroundings, their features confused and sometimes entirely lost. Also included is an interview with the artist by Michael Joo.
Ron Nagle, Lincolnshire Squire
Dan Fox
FORRSET BESS PB
Published on the occasion of the first Forrest Bess solo exhibition in the United Kingdom at Stuart Shave/Modern Art, London (3 October - 1 December 2018).This catalogue includes a broad selection of paintings dating from 1948-1970 and representing all four of the decades that define the 'visionary' period for which Bess has come to be known.Accompanying the works is a new essay by Professor Mark Turner, King's College London, on Bess's life, his theories and art.Frequently relegated to the peripheries of art history, both as a Texas native and a rarely understood queer man, Bess might nevertheless be re-located at the heart of American Modernism.Between 1949 and 1967 he showed at least five times at Betty Parsons' New York gallery, on the same walls that debuted Barnett Newman, Richard Tuttle, Ellsworth Kelly, and other focal figures of twentieth-century abstraction.Simultaneously he engaged in correspondence with sociologists, psychotherapists, art historians, and even NASA, to communicate a series of radical medico-mystical theories he had devised that were, he believed, of critical importance to Mankind.
The London Mercury
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A London reverie
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The Tate Gallery
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