Correction: Due to a proofing error the first two questions in the conversation between Ali Banisadr and Marius Bercea were wrongly attributed. We apologise to both of the artists for the error and the corrected text appears here
What do I feel when I make painting? Well it’s a kind of intriguing question, what does one feel?
You feel so many things. One thing I think I can say, and underline, is that what you tend not to feel is emotion, or emotion that you are aware of. I think it’s a kind of labour and so what you’re doing is you’re… you’re involved in laying down of a kind of craft, which is interesting isn’t it?
I mean I’m sure some people feel so emotional they are kind of dancing up and down having a great time screaming and crying. It’s not for me. It takes such a long time to find your language, it’s taken me a long time, and I still think I’m finding it, but I know that I’m closer to a language which is coherent and recognisably mine, but I’ve made many many mistakes along the way.
It’s been quite a struggle. I do feel that when you look at a painting the first thing that you must see is the painting itself and then the image later, and if that happens then the painting is halfway to working.
Michael Simpson: Odyssey of a Painter
Louisiana Museum of Modern Art. 2016
/ Katie Pratt in Conversation with Jonathan Lasker
/ How Can We Think About Abstract Painting? Pt.2
by Simon Bill (link to both pt1 and pt2)
/ Ian Davenport in Conversation with Clem Crosby
/ Fifteen Things to Know About American Painter Marlon Mullen by Tim Buckwalter
/ Philip Booth in Conversation with George Shaw
/ Picture Dealing. Jo Persona, everyday content provider
/ Slipping Into a Glimpse by Suzanne Holtom
/ In Conversation Shani Rhys James and Iwan Bala
/ In Conversation Ali Banisadr and Marius Bercea
/ Katrina Blannin in Conversation with Vanessa Jackson
/ Simon Gales A Rush Hour Conversation with Turps Banana
"We are now coming out of the long period during which
painting always minimized itself as painting in order to ‘purify’
itself, to sharpen and intensify itself as art. Perhaps with the new
‘photogenic’ painting it is at last coming to laugh at that part of itself
which sought the intransitive gesture, the pure sign, the ‘trace’.
Here it agrees to become a thoroughfare, an infinite transition, a busy
and crowded painting. And in opening itself up to so many events
that it relaunches, it incorporates all the techniques of the image:
it re-establishes its relationship with them, to connect to them,
to amplify them, to multiply them, to disturb them or deflect them."
Photogenic Painting 1975
/ Markus Lüpertz in conversation with Turps Banana
/ How Can We Think About Abstract Painting? Pt.1
by Simon Bill
/ Juan Bolivar in conversation with John Greenwood
/ On Forgetting Paul Klee
by Phil King
/ A Form of Making. Hannah Brown
by Graham Crowley
/ Paul Peden in conversation with Duncan Newton
/ Mira Schor at Some Walls
By Chris Ashley
/ The Future is Bright. The Future is Cadmium Orange.
By Paul Robinson
/ Sofia Silva in conversation with Paulina Olowska
/ A Painting by Christopher McHugh
By Michael Szpakowski
Out 24th July 2014
Peter Halley in conversation with Juan Bolivar
Christian Mieves interviews Dana Schutz
An Encounter Between Two Painters by Jeffrey Steele
Cadmium in Crisis
Joanna Kirk by Victoria Rance
Portrait of a Painter by Sofia Silva
Mitch Speed on Elizabeth McIntosh
Martin Constable on Contrast
The Correspondents 2012 -13 turps correspondence course painters
Michael Freeman and Neal Rock in Converstation
The Banana by Philip Booth
Review by Naomi Frears
Late in life, Claude Monet told Marc Elder the story behind this painting:
'This delightful painting by Renoir, which I am so pleased to own, is a portrait of my first wife. It was painted in our garden at Argenteuil when Manet, enchanted by the colour and the light, had decided to do an open - air painting of pople underneath the trees. While he was working, Renoir arrived. The charm of the hour appealed to him too, and he asked me for a palette, a brush and a canvas, and then he was painting side by side with Manet. Manet watched him out of the corner of his eye and went over to look a at his canvas from time to time. He would grimace, slip over to me, point at Renoir and whisper in my ear, 'That boy has no talent. You're his friend , tell him to give up painting!' .... Isn't that funny, coming from Manet?'
Anne Distel, from the commentary section of the catalogue of a major Renoir exhibition in 1985 at the Hayward Gallery , London.
Bomberg after Auerbach after Brown by John Chilver
Tim Renshaw on John Wilkins
Stewart Geddes in conversation with Bert Irvin
Michael Szpakowski on Jake Longstreth
Turps interviews Matthew Collings and Emma Biggs
Katrina Blannin interviews Andrew Bick
Geraldine Swayne interviews Lee Maelzer
Dan Coombs interviews Tim Allen
Painters from the Turps Painting Programme
and reviews from New York City
'Gavin Lockheart: You teach in Dusseldorf. What would you say your approach to teaching is?
Peter Doig: It's funny, here in England they call it 'teaching', there they don't really use the word 'teaching'. I remember when I first started there I mentioned the word to Markus Lupertz who was head of the Academy in Dusseldorf, and he looked at me and said " We don't teach". Which is true.
There's nothing you can teach; you can have conversations and discussions but you're not teaching anyone anything. Its just phrasing really. I agree with him. the thing I like about the system there is that the students are with you a long time, up to six years, so you build up a strong relationsip with the student and the work, and find ways of talking about it, and you hope they find ways of talking about it. I said to them at the beginning that "I want you to all be able to talk about your work, I don't care if you just stand next to it and make noises, you don't have to say it in a particular way".
Sometimes the work speaks for itself or other people do the talking, but that's an important part of the whole thing, that you feel comfortable, confident with what you do, you don't have to hide behind it, feel shy. You want to build up confidence alongside your work.'
From Issue Nine of Turps Banana.
David Leeson interviews Bernard Cohen
Lucy Stein and Alasdair Gray on Carole Gibbons
Mali Morris interviews Geoff Ridgen
Nancy Cogswell interviews two leading conservators at the National Gallery, Washington DC
Joan Key on Amiken Toren
Paul Robinson on White
Clive Hodgson by Neil Clements
Geraint Evans by Damien Meade
/ Turps Banana Magazine is available from selected retailers or can be purchased on line
They’re just paintings. This is what’s so hard to get over about Pollock’s work, what can make you shut up suddenly, confounded. The radical materiality, the almost stupid factuality of it – both in and beyond the felicity and the mastery – can stop you dead because of what it’s about. It is the factuality of sheer human limitation, the dead end of the romantic, of desire. It’s like getting to a place where the gods are supposed to be and finding nothing. A discovery like that should kill you but it doesn’t. The painting keeps being a painting, beautiful and lively and forlorn.
You feel – I feel – that this might be something worth remembering and worth being true to. It gives a taste of truth that, with courage and luck, might just become a predilection, a habit of being true. It would be nice to have this art always accessible, for recovering the taste in its original sharpness, as sharp and unmistakeable as tears on the tongue.
From Les Drippings in Paris, a review of the Pollock restrospective at The Pompidou Centre (4 Feb – 19 April 1982) by Peter Schjeldahl, first published in the Village Voice
Peter Dickinson interviews Katharina Grosse
Jeffrey Steele in conversation with Katrina Blannin
Leon Spilliaert by Paul Becker
Nicola Churchwood interviews
Humphrey Ocean on Anthony Eyton
The Banana by Chantal Joffe
Damien Meade A History of Fear by Geraint Evans
and more Reviews...
When I met Sean Scully in Munich a few months ago I found that he was open, caring and generous, and certain of his own nature.
I suppose this could be construed by some as arrogant, but for me there was a humility and tenderness in his self knowledge. Scully knows what he is aiming for and I feel that he has always hit his target. I think he has achieved the musical recognition to which he makes comparison in so much that you can spot a Scully from a glimpse. But if you spend time to 'listen' to each piece you will find the insight and the condition of the soul within - mine, yours and his. The fight and the patience required is universal,the simplicity is deceptive.
Introduction to Peter Dickinson's converstation with Sean Scully for Turps Banana #10
Sean Scully in Conversation with Peter Dickinson
Through a Glass Darkly by David Leeson
Che Lovelace in Conversation with Peter Doig
Jeff McMillan Interviews Rose Wylie
Jasper and Harry’s Tate Modern
Desert Island Painting
Your sense that the ’50s work and early ’60s was “forced” to “look” “abstract” was the largest part of the comic-absurd subject. I knew it at the time but couldn’t tell anyone.
The word FINIS really means that things are beginning to be understood. And one’s greatest desire finally is not to be merely liked, etc but to be understood.’
Philip Guston, from a letter to Ross Feld in Guston in Time, published by Counterpoint, New York, 2003
Gavin Lockheart interviews Peter Doig
Peter Dickinson interviews John Hoyland
Christopher P Wood and Nicholas Usherwood on Sidney Nolan
Gordon Burn on Court Artists
Andy Holden on Phil Root
Uncharted Planet by Jonathon Parsons
Andy Child on Paul Nash
Paul Robinson on Vermillion Cadmium Red
The Banana by Ryan Mosley
"Since 1972 I have produced three to five gouaches a day. I have principles connected with this new medium:
1. Never rub out or attempt to erase. Work round it if you have made a mistake. Make of your mistakes a strength rather than a weakness.
2. Wait for it. That is , if you don't get a clear message, do nothing.
3. If you have a full brush and you have made a mark, do not think that you have to use the paint on your brush - wash it out.
4.As in life, it is not so much what you put in but what you leave out that counts.
5. Paint as if you were painting a wall (Bissiere).
6. No colour stands alone. They are all influenced by each other. This is when the dicey part comes in. I mean the balancing act.
7. Most pictures can be pulled round. If you run into head winds, tear it up.
8. Don't drink and smoke so much & lay off the nudes. Nice, but too easy a gambit."
Roger Hilton, from The Figured Language of Thought by Andrew Lambirth, published by Thames and Hudson, 2007.
Declan McMullan on The Murals of Northern Ireland
Robert Bordo in Conversation with Steve DiBenedetto
Marcus Harvey Interviews Basil Beattie
Stuart Elliot on Simon Callery
In the Studio: Robert Welch's Paintings by Mali Morris
The Banana by Damien Hirst
and much more...
"The poet's eye, in a fine frenzy rolling,
Doth glance from heaven to earth, from earth to heaven;
And, as imagination bodies forth
The forms of things unknown, the poets pen
Turns them to shapes, and gives to airy nothing
A local habitation and a name,"
William Shakespeare, from Theseus's speech in A Midsummer Night's Dream, published in 1600
Thomas Nozkowski in Conversation with Garth Lewis
Anslem Kiefer in Converstation with Marcus Harvey
Sympathetic Magic : On Keith Vaughan by Paul Becker
Felix Vallotton: Genres and Shallow Waters by John Chilver
Rose Mader and Alizarin by Paul Robinson
Mali Morris: The Intelligence Of Colour by Peter Suchin
On Howard Dyke by Stephanie Moran
Joash Woodrow by Chris Wood
Lars Hertervig by Leigh Clarke
A Fictitious Interview with the legendary Dutch forger Han van Meegeren by Keith Coventry
Patrick Oliver by Marcus Harvey
The Banana by Keith Tyson
"Painting is the art which reminds us that time and the visible come into being together, as a pair. The place of their coming into being is the human mind, which can coordinate events into time sequence and appearances into a world seen.
With this coing into being of time and the visible, a dialogue between presence and absence begins. We all live this dialogue."
From Success and Failure of Picasso by John Berger, first published by Penguin Books, London in 1965 and then by Granta Books , London 1992
Beryl Cook by Dan Coombs
Leon Golub interviewed by Turps
Hitchhiking: Peter Jones discusses Alex Katz' paintings
Biography of a Painting 2 by Tom Phillips
Jim Shaw in Conversation with Andy Holden
The Paintings of Ron Delavigne by Jason Sumray
Pictures from the Pole: Feliks Topolski's Users Guide to the Twentieth Century by Jeffrey Dennis
Givers Never Lack by Neal Tait
The Cartoon by David Rayson
plus more reviews...
"Painting is a medium of concerted imagination, symbolizing consciousness. It's not a flat dump for miscellaneous ideas.'
From Funhouse, a review of the Jeff Koons retrospective in New York by Peter Schjeldahl, published in The New Yorker, 9 June 2008
No Bones About It. Turps interviews John Walker
A Ferocious Dog Lives in Rome. David Austen Meets Enzo Cucchi
David Austin: Surfacing at the Crossroads by Martin Westwood
Andre Derain by Merlin James
Alan Davie in Conversation with Andy Holden
New Technology, The Old Masters and Their Joint Effect On The Look Of The Contemporary Blockbuster by Martin Constable
Julian Wakelin: Doing What Needs To Be Done by Peter Suchin
Gerald Hemsworth: A Question of Rhetoric by Michael Stubbs
Roderick Harris: From the Corner of the Living Room by Dan Hays
Faraway so Close: Marc Hulson discusses Dan Hays' work
Landfill Peter Davis discusses Jeremy Butler's work
The Cartoon by The Chapmans
'Ultimately, however, Hamilton notes that, "the 100 percent resolution of oil paint on canvas is still unmatched".'
From an essay by Michael Bracewell on Richard Hamilton's A Host Of Angels series, published in Issue 13 of Art Review (June/ July 2007)
William Hogarth's Christ At The Pool Of Bethesda and The Good Samaritan by Leigh Clarke
Wandering In The Zone: The Hero Paintings of Georg Baselitz And Thomas Pynchon's Gravity's Rainbow by Andrew Child
Taste Is The Death of A Painter by Annabel Thomas
Sylvia Sleigh In Conversation With Ellen Altfest
Alice Neel by Chantal Joffe
Dawn Mellor: The Flowers of Evil by Mathew Weir
Covadonga Valdes by Geraint Evans
Realism And The Work of the Boyle Family by Jock McFayden
The Cartoon by Dawn Mellor
Biography of a Painting I by Tom Phillips
Brian Sayers: Clocking on by Jeffrey Dennis
Watch out for The Skin Deep. David Leeson discusses the paintings by Carol Rhodes
Ike and Me by David Humphrey
Plus more review....
'Braque was sayting the other day, 'Cubism is a word invented by the critics, but we wre never Cubists.' That isn't exactly so. we were, at one time, Cubists, but as we drew away from that period we found that, more than just Cubists, we were individuals dedicated to ourselves. As soon as we saw that the collective adventure was a lost cause, each one of us had to find an individual adventure.'
Pablo Picasso, from Life with Picasso by Francoise Gilot, Virago Press Ltd.
The Difference Between a Wolf and a Dog. Wayne Thiebaud in conversation with Colin Smith
A Fellow Painter's view of Giorgio Morandi by Wayne Thiebaud
Serge Charchoune: The Abstract School by Merlin James
Searching for the Murky Puddle. Mark Wright discusses paintings by Arkhip Kuindzhi
Marathon Man. Alexis Harding in conversation with Paul Bonaventura
The Banana by Ansel Krut
The Man with the Dark Glasses. David Ben White interviews Luc Tuymans
Dick Bengtsson by Richard Clegg and Jake Clarke
'To think is to speculate with images' Roderick Harris discusses Michael Simpson's paintings.
plus more reviews...
'Most things in the world are absolute in terms of taking someone's word for it. For example, rulers. But if you yourself made a sphere, you could never know if it was one. That fascinates me. Nobody will know it. It cannot be proven, so long as you avoid instruments. If I made a sphere and asked you, "Is it a perfect sphere?" you would answer, "How should I know?" I could insist that it looks like a perfect sphere. But if you looked at it, after a while you would say, " I think it's a bit flat over here." That's what fascinates me - to make something I can never be sure of, and no one else can either. I will never know, and no one else will ever know.'
William de Kooning, from an interview with Harold Rosenberg, first published in Art News, vol. 71, no. 5. September 1972, pp. 54 - 59
George Condo's Elite Pathology by Nigel Cooke
Paintings by Nigel Cooke discussed by Sean Ashton
Yesterday Belongs to Me. Harland Miller writes about Anslem Kiefer
The Things at the Edge of the Scene. Tim Renshaw writes about Anne Ryan's Paintings
Tim Renshaw by Cath Ferguson
You Need a Long Brush to Paint the Past. George Shaw writes about Constable
A Different Kind of Difficulty - The Late Karl Weschke by Colin Smith
Portraits From A Prison Camp. Marcus Harvey writes about Ray Newell's paintings, made while a prisoner during the Second World War.
Last Exit - Caravaggio, The Final Years by David Leeson
The Calling of Michelangelo by Andrew Mummery
The Banana by Christian Ward
Plus more reviews..
Download PDF : George Condo's Elite Pathology by Nigel Cooke
The idea to establish a magazine about painting, made predominately by painters, became concrete about two years ago during one of our many discussions/arguments about our own work and other painters that interested us. We, along with most of our friends , have a long history of such discussions (usually in the pub) and built on fairly regular studio visits. These discussions are vital to us and we wondered if there might be a demand for a magazine that could act as a forum for the ideas and views of painters.
Partly because art criticism is not a science and because we believe good painting is not driven by ideological principles, Turps Banana does not carry a singular position or attitude about painting , but is as open as possible, in order to allow dialogues to develop. What excites us most is that uniquely, the contributors are not critics or professional art writers, but practitioners whose contributions will hopefully illuminate thier own practice as they reflect on their contemporaroies and their interest in the history of painting. We aim to publish correspondence on a letters page, and also pursue interesting suggestions through future features so the magazine may become a receptive vehicle for those interested in painting. Please use it by emailing email@example.com
Picture Research. Merlin James on the Alinari Studio
Painting Pictures. Peter Jones discusses paintings by Merlin James, made in response to the Alinari Photographs
Some Stick For The Dogma. Reflections on Richard Diebenkorn's mid period work by Colin Smith
The Artist as Athlete Cuts of Arm to Run Faster. Neal Tait on Luc Tuymans retropsective at Tate Modern and K21, 2004
New Figurative Paintings. Damien Hirst talks to Turps about his new paintings
The Texan. A Drawing made for Turps by Reece Jones