Wednesday, 19 June 2019

who is God? what is Art? - a poem about questions

The poem is written by Denis Taylor ©2002 - Denis an artist it was written in 2002 after many years the artist spent on Aegina island. It was published in 2007 on the platform Lulu as a free to read and free to download ebook. painters TUBES magazine is delighted to re-publish it on our renown VR magazine's free so enjoy. TIP - Press the BOX shape on thr right hand side to go full screen - best experience read it on a ipad, slate, laptop or desktop.

Monday, 17 June 2019

NEW - tubes gallery artists

painters TUBES Artists Gallery

Showcase #2

Saturday, 27 April 2019

can artists write about art far better than art critics?

painters TUBES magazine
Giorgio Vasari - Artist and Writer

As the Editor of painters Tubes magazine and a *full time artist for 30 years (*from 1986), I have found that writing about other artists (in my case painters) gives me a sort of insider knowledge of how artists process their work, from both intellectual and physical angles. When interviewing other artists this special understanding forms the basis of our conversation(s) and helps me to get to the ‘pip-of- the-poodle’, as they say in Sweden. Little time is wasted on talking about the contingencies of painting- say, the choice of paint, the type of base preferred (board, canvas etc). Nor do I waste interview-time making a list of their education background, academic or art competition gongs, or any other ‘list’ that are usually intended to impress prospective buyers or potential representation of galleries.
I find that four to five hours is required to fully examine and get to the bottom line of the artists real reasons for living life an artist. What it is that drives them and provides the impetus to continue with ‘needing’ to create something original and authentic – This is often more complex than most people realise. Total confusion on the ‘why’ to create at all, is always that empty space that manifests itself as the struggle felt, as is the overpowering ‘need’ to gain not only recognition of ones peers, but also from total strangers, art agents or art galleries who may wish to actually purchase or value the work. Separation of the conscious ego from the subconscious creative mind remains an issue, as it has always been.
My conversations with artists helps me to confront some ‘hidden-agendas’ head on. ‘How to survive as a full time time painter’, for example, is often talked about, or rather, how difficult that is to maintain in the 21st Century. “Too many artists, not enough space to exhibit” frequently comes up in ‘chats’ as an irritation, as does the gallery bias for one type of art over another or the ‘lottery’ of being singled out on the www for acclaim. 
Social Media addiction is always a problem for artists, especially for those that post every single brush stroke they make for the world to admire, i.e. “here’s one I started this morning..” type of post- (unfinished ‘updates’ of art is one habit that I personally abhor). 

Some writers of art prefer to ramble on the aesthetics of this or that work of art, using words that simpler descriptions would suffice quite adequately. And whereas that ‘academic way’ is a very 20th century way of writing about Art, it is still utilised today to avoid discussing the real practical issues facing painters. Or indeed what their Art is really ‘all about.’
The other difference, I have found, (as an artist interviewing another artist) is, I am truly interested in how a work or series of work came about, not in any ‘journalistic’ way, but as a fellow artist who experienced similar ‘awakenings’ or insights. It is also not that difficult for an artist who interviews another artist to quickly spot an ‘image-maker’ from an artist who ‘works’ to develop their Art rather than simply live off it.
For me, as the Editor of an Art Magazine, one that is devoted to ‘paintings and painters’ it seems clear that I should be looking to encourage other Artists to start to write about other Artists. If I am lucky enough to achieve that aim – I honestly think Art in general will be the better for it…

©Denis Taylor - artist and writer.

Read - Dean Entwistle Artist- writing about the Artist Elaine Preece Stanley  free on line - go to: for links

Thursday, 25 April 2019

read painters tubes magazine on line - new issue now on public release

The new 52 page painters TUBES magazine (issue #12) is now on line. Featuers include a 12 pge article by Colin Taylor (UK painter) musings about Landscape whilst wandering about the mountains in Chile.
David Tycho (Canadian painter) writes about the 100 years grudge that has ensued between figurative and abstract art. Tubes Editor Denis Taylor, gives an intimate preview of Richard Fitton's new show at the Whitaker Art Museum in early May. Dean Entwistle (painter who specializes in Tempera) is taken with the purest sensational work of Elaine Preece Stanley (UK artist) André Chahil, asks if you think "is this a real Van Gogh?" and our resident critic 'Spike' goes on a rant about Photography and painting.

click the link here to read on - iPad, Android Slate, laptop or desktop.

painters TUBES magazine - new issue
painters TUBES magazine new issue
painters TUBES magazine - independent specialist magazine for Art, Artists and Art Collectors - Printed magazine is available by way of a personal reservation. Subscriptions are now open for 6 magazine per  term-  or one by one issues: email: or go to our main website to complete the reservation form on

Monday, 22 April 2019

there is no money in Art

resident art critic for painters TUBES magazine 'SPIKE' talks about money and art...

resident art critic for painters TUBES magazine
 Spike leading the way forward - painters TUBES magazine and painters TUBES gallery

A very wise man once said to me (back in 1982) “..there is no money in Art..” 

“..Showing paintings on line is now the main stream for the dissemination of an artists work, of that there can be no doubt.  Even though real life exhibitions are still relevant for many artists, an on  line presence is essential (if only for street cred).  That old bone we once chewed “painting is dead” has faded away as fast as padded  shoulders did in the middle 1980’s. There has  been a major change in attitude towards painting in  the last few years by artists and galleries. In part, this may be entirely due to the need for the high street galleries to survive the  various financial crisis that we seem to need to have in the western civilisation (just to keep us on our toes, or in chains I’m not sure). The big  money f’kd up crisis started in earnest in 2007 and is still having an effect now. Not to mention adding to the problems spinning off Donald Trump and the European Union on the brink of collapse helped along by Yellow shirt craziness and No Deal Brexit and  an old church going up in smoke.

Today, more than ever, high street galleries need to sell ‘more-stuff’ and earn extra profit to pay those stupidly high ‘business rates’ in the major Cities – And lets be honest, paintings sell much quicker than sculpture those ‘cool’ avant-garde installations of nonsense that rely on high brow art academics to authenticate the cultural importance of something that most people wouldn’t actually install in their homes, even if they don’t say so publicly. And usually there is a heavy price tag for that sort of contemporary art. Consequently the contemporary ‘arty farty’ marketplace is tiny  compared to the ‘popular paintings’ art market. Even though there are only so  many landscapes that anyone can put in their homes. That market will also run dry eventually. Maybe a very few of the  high street galleries will expand their perimeters and start  to take a risk, in half a decade or so? By which time it could be too late.
Today the sheer size of the (art) market (because of  the www) has outgrown all  that ‘arty farty stuff’ by leaps and bounds – certainly as far as turnover is concerned. So the www has become the place to set up your stall. Major funded on-line art galleries and some not so well funded independent artists all have a go at selling direct to art collectors and art lovers. Even Tubes magazine are having a go (although they already know there is no money to be made so why bother trying? - I’m told by the Editor that the space for  artists is in keeping with the magazine policy - that is “Art before profit..” ...many folks may find him, like I do, quite nuts.

The one man art galleries start-ups fail quickly- some have a sort of  ‘in the third year we will make money fiscal plan’ and obtain a bank loans. Most, in reality, loose much more money than they bargained for and are wrapped up prematurely by their investors (or more commonly the Bank)
Tomorrow will not a case of high streets chasing huge profits for many galleries, on the contrary, it’s going to be survival we are talking about here.

That wise old man may have been right after all, but for the wrong reason, as far as I am concerned. Art cannot and should not be treated as a commodity as it is today. And be sold as such - The stack ‘em high, sell ‘em cheap' policy of mass commercialism is not an effective strategy. For Primark maybe, but surely not for 'one off' original art, so when times get tough, it seem the tough get going or they bottle it and start prodcuing shit art to be sold in pointless numbers in galleries throughout Europe..

However, the galleries with guile are having some degree of success, especially the well positioned bricks and mortar establishments with an ego in charge. They do use the web effectively. Many sell-out their latest exhibition on-line, even before they hold the opening night, which simply turns into a social event. A night which also serves a vital purpose for the prospective client to actually see the Artwork for real – then the deal is invariably clinched on the spot by the religious handing over of the Credit Card or the signing of the agreement of the 12 month interest free payment scheme’

painters TUBES magazine -Spike, talks about art and money

“quality original art always wins out in the end, well nearly always.”

 I guess the major on-line gallery self appointed art selectors will continue to advance those artists that fit their preferred ‘trendy style’’ of the month and advise their visitors who are the ‘ones to watch out for, because next month they will be discounts galore on offer, perhaps?
Thus employing the ‘bugger the Artist’- stack em high and give big discounts - if you buy today- type of non-ethical bribery ‘games they play’ – And all with additional discounts for second time buyers, of course. Will high street galleries continue to be flooded by the hopeful newbie painters who really don’t stand a chance, or will these hoards of artists who
think they can ‘stick a jpeg on line’ with a ‘really famous named’  overpopulated web site and expect a sale?  Better be prepared for disappointment and a very long wait, my dear deluded artists friends. For you will be one of millions who reside in a virtual space that is almost impossible to be seen, unless your art is featured on the front page.

Will the on-line - ‘paid private educators’ - who tell us - How to Sell Your Art On-Line, or ‘How to paint like DeKooning’ (yes you really can view a You Tube on how to do that) ‘activity’ really begin to make a difference for the artist financially, or is all that art business on line simply a game that lines the pockets of the author who wrote this sort of bull shit ? 

It seems to me, that the only way forward for painters today - is do what the Impressionists did way back in the day before the internet existed -  That is find a ’cheap’ building to rent space -
Hire it - Put your stuff on the Wall (with a few artists friends) - And throw caution to the wind, then go mental posting on social media pushing the show and have’ a brilliant time at the opening  - I mean what’s the worst that can happen? You will loose some hard earned cash and many hours of your time, possibly in a drunken stupor? But perhaps you will gain a hell of a lot of self pride (and the mutual respect of your fellow painters, maybe) and get to understand how a real artist (and a really great gallery owner) actually work bloody hard and mostly for the love of Art and not for the love of money. There is nothing wrong in selling your Art but surely it’s what and how that matters ...After all it’s just a (selling) game...isn’t it?

written by ‘SPIKE’ for painters TUBES magazine
spike© 2019
©painters TUBES magazines and gallery  exclusive 2013-2019

Saturday, 20 April 2019

painters TUBES magazine - NEW ISSUE

painters TUBES magazine new issue (number 12) is now on line and free to read. 

You can also buy a PRINTED COPY for only £5.00 +pp (UK ONLY) go to and fill in the form provided

The new fantastic issue is 52 pages of great art, brilliant articles and previews of the latest exhibition of the rising star of English painting Richard Fitton at Whitaker Art Musem.

go to to read all our magazines on line.

Best Art Magazine on Line

Thursday, 18 April 2019

surpassing reality...with contemporary classical realism

Classical Art
The theoretical musings of a whole battalion of academics, art critics and curators over the last five decades or so, have successfully weaned young artists off the concept of developing 'skill' or 'talent' as the prime tools for art creation.
They argued (at one time) that, emotionally content and abstract application, was the essential thing to hold dear. After that dogma of the early 20th century it became usurped by the intellect or rather that it was the 'idea' of the art, that was even more important.
And whoever created the 'Art' itself was irrelevant or unimportant. Which is pretty much what was presented by and in the shape of the 'stars' of the then contemporary Art world in the latter half of the 20th century. We now call this Art - Post Modernism.
However, there has been a seismic change in Art viewpoints of late.

The www has, in a relative short period of time, democratised visual art and freed it to a large extent. We now witness, on a daily basis (on social media), what is probably the widest array of visual art that has been seen for generations.

However, the purest 'Duchampian' form of intellectual visual art hangs on in the inner circles of the many of the Art institutions like a bad smell. They still insist to go blindly around ignoring or in some cases, (and in private) dismissing many visual artists as, non-progressives, or backward-thinking or worse still, non-contributory artists for a new millennium. Of course these same band of culture experts admire anyone who takes Art from the past and reproduces it, or more accurately, copies it, as this is seen as advanced Post-Post Modernism and in keeping with that old adage they have promoted for so long,

"everything in painting has been done already, so why bother to paint at all."

It is probably the 'realist' paintings of today that attract the most venomous critic.
After all they'd say, what is the point of copying something in front of you, when we now have the digital camera? - And to a large extent I totally agree with that statement.
What I think they missed is the point of the process of painting, one that changes the reality and why that entails a complex relationship that a painter has to develop along with the work. And not only from spending a great deal of time working with it and helping to create something that didn't exist before, but to understand that process fully one has to actually paint, not talk about, not write about, and certainly not curate, to gain that total understanding of why painters still paint, by hand.

I had all the above thoughts way back in 1988 when, at that time, the YBA's and Mr Saatchi were terraforming the Art landscape to suit the new social fabric [in the UK]. It was a time where individuality took a form of selfishness, that it was believed, to be the ideal artistic state and where vast amounts of money was the only true measure of a successful piece of Art. These artists were impatient and young, they had no time to hone a skill or tap into a natural talent, let alone develop one or even need talent at all. "we want it all, and we want it now" was their mantra, "talent is not enough" was the banner held high by the supporting tribe of culture writers at the time. They all succeeded, they all became rich beyond their dreams. They had titles and honours poured over them. They have since then, been elected into positions that were once held by Artists who, perhaps unlike them, actually deserved the accolades bestowed upon them.

And so, these first paragraphs illustrate my mind set when as a 43 year old painter I was given the task of seeking out other artists to participate in a special exhibition called Heart 2 Art - It was a project commission from the International Support Group in Sweden and the Swedish Government Estonian Trust Fund. The show was in benefit for the survivors and the families of them that perished in the Estonia Ferry disaster of 1994. It was the most important and difficult exhibition that I had ever agreed to be the lead Artist, designer and curator of. I was given the lead by the Anglo Swedish Art Group W.O.R.K (Waxholm Organisation 'Reformerandet av Konst - English trans: Waxholm Organisation Reforming Art).

It was a massive task and fortunately I was joined, by way of my invitation, by the late professor of Art and Author Nigel Whiteley (1953-2010). A person who I had long admired and read avidly in the UK Art Review magazine for several years. Together, through the many meetings and discussions, we managed to formulate a philosophical criteria to help find the artists who had the right 'stuff' for the job in hand. The philosophy was realised in over 5000 words by Nigel and was written and published exclusively for the exhibition catalogue as:

" Affirmative Art in a Disaffirmative Climate"

Editor of painters TUBES magazine and professor Nigel Whiteley at the Heart 2 Art Exhibition Stockholm
Denis Taylor  Artist, and Nigel Whiteley Phd. F.R.S.A (1953-2010) at the Heart 2 Art Exhibition Stockholm Sweden 2002

It was at this time and in this frame of mind that I discovered a painter in Argentina, Gabriel Grun. He became one of 27 Artists selected from nine countries that was finally exhibited in the Heart 2 Art exhibition in 2002 in Stockholm (after the 4 years the project took to complete). The show was an eclectic mix of visual art that was to demonstrate the altered realities of humankind. And Gabriel's work was a part of the show that visualised a link with the past and a new-vision how that link can be interpreted for the future. I still keep in touch with many of the artists from that exhibition, some more closely than others, but Gabriel was one I always kept my eye keenly on, to see how he progressed with his work.

Over the years Gabriel has been recognised as one of Argentina's finest 'fine artists' - His dedication to filling the gaps that he feels have been left by the renaissance artists has, to my mind, been an impressive voyage. Yet, beyond that he has also 'tuned' himself from the stubborn art student who walked away from a modern art establishments curriculum in Buenos Aires, to a husband and father and a more mature artist.

painters TUBES magazine

He is not alone in his pursuit of a classical perfection in a modern idiom. Many artists have gone before him. Dali is perhaps a good example, as is Odd Nedrum (Norway) and there are more, as no doubt readers of painters TUBES magazine has discovered. Gabriel Grun is however unique in the way he not only portrays realism, but also in the manner in which he does it. He has described this way of working as an alphabet, one that he has had to learn and continues to learn, but he then transcribes his own visions by reforming and inventing [visual] words using that alphabet and creating new narratives.
He attempts (and succeeds in my opinion) of making an image that 'sticks' to your eye and your mind. An image that has a tendency for the viewer to take the image (and sometimes the disturbing) narrative away with you after viewing his art.

There is always the danger of making subjective judgements, especially where paintings are concerned. As Gabriel says himself, some sort of anachronistic story telling is not his target to dynamic art creation. His art has a more direct desire, one of landing a punch packed with power. Some of his earlier works have a definite erotic tone, which could be the exuberance of youth and which, as he said recently to me, that in his current life he is not in sympathy with, nor feels that he needs to call upon, to give his work the emotional power or punch that he sought, when he was painting in Buenos Aires.

Painters Tubes magazine will be including Gabriel in a review of work that reflects a 'classical contemporary realism' during 2019.

Tuesday, 19 March 2019

painters Tubes gallery

The new Tubes Artists Gallery is a great opportunity for painters to show their work to a global audience of 87,000+ on the painters TUBES magazines platforms.

We are excited to introduce a fantastic three dimensional VR gallery which will exhibit solo, group, art projects and high street shows on a platform that is the most beautiful VR platform anywhere to be found on the web. First Exhibition Premiere Opening September 2019. This will be supported be the opening of the TUBES Artists Gallery in Manchester UK in the city centre.

invite guests to a premiere and chat with visitors and hold discussions with collectors and also offer your work for sale to the general art loving public. The paintings on show at your exhibition will be linked to your website, and all enquiries are forwarded to you directly.

Group shows 
cost each artist £15.00 (10 artists will be shown within in each group exhibition) Each group exhibition will have a catalogue with artists profile, contact point and a brief editorial summary of the artists work in print and on line.

20 page catalogue of the artists work with editorial in print and on line. A full interview and featured in TUBES main magazine (print and on line). Social media Marketing and PR support for the artists solo exhibition. Solo Shows cost £150.

painters TUBES magazine and painters TUBES gallery
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painters TUBES latest issue now on line