Much of Peter Blake’s art is about being a fan, a devotee, a collector. He crystallises his enthusiasms and passions into exquisitely realised works and his hand is always present and delicate.
I once read that when he parts with a work he always reserves the right to recall it and rework it.”Problem is, what I’m trying to attain isn’t possible. I’m trying to attain a realism which isn’t possible to paint. If I paint a portrait and it’s an eye, I would want to paint every fleck of colour on the eye, I would want to paint every eyelash. I’ll never ever paint what I’m aiming to paint because it’s impossible”. Peter Blake @Tate Liverpool, Tate shots 2008.
Wim Wenders, Paris Texas.
Travis Henderson walks through the desert in a mute purgatory of pain and loss to Ry Cooder’s haunting slide guitar. Wenders ultimately reconciles the estranged father and son through the shared memory of a flickering home movie. Together they embark on an American road trip in an old Ford Ranchero in search of the boy’s estranged mother. Haunting.
“What started off as something about visiting the past consequently becomes something about visiting the present. It’s made me for the first time think about visiting the future, which is quite odd-so its left a feeling that there is something to walk into as opposed to walk away from.”
(George Shaw: An Introduction," with filmmaker Jonathan Law)
The Clash and 1976.
Joe Strummer said that punk took a blow torch to rock n roll. I feel still the heat 40 years later. Pussy Riot, Sleaford Mods, Fat White Family, Drenge, Shame. D.IY. Hey Ho Let’s Go!
“My concern is never art but always what art can be used for. Since there is no such thing as absolute rightness and truth, we always pursue the artificial, leading human truth. We judge and make a truth that excludes other truths. Art plays a formative part in this manufacture of truth.”
(Gerhard Richter, Notes, 1962)