Graham Crowley is one of the most distinguished living painters in the UK today. As the deadline closes on entry to the John Moores 2010 competition, Kate Brundrett asked him for his views on the competition’s significance and for his ‘take’ on the state of contemporary art practice.
Nina Murdoch’s Rockingham Row.
Benet Spencer’s History Painting.
Brendan Lyons, Blu Painting (detail), acrylic paint, 80x80cm, 2008. Installed at the Bluecoat, Liverpool.
Kerry Harker, Narcissist, T-shirt with vinyl lettering, unlimited edition multiple. Photo: Cathal Carey
Charles Saatchi saw one of Jenny Saville’s paintings and commissioned a series, but she believes it’s hard work and dedication that sustain her.
I arrived in Osaka, Japan with a certain amount of excitement and trepidation.
My work is mostly about perception: the way we look at the world, building up an image of the whole from different fragments.
The figure in motion is central to my practice.
I work with collections of thoughts, memories and snippets taken from journeys and observations – some everyday and others more fantastical – and harness and order these responses and experiences through a variety of forms.
In 1999 after living in London for twelve years my family and I moved to Portsmouth.
Nina Madden meets painter Katie Pratt and uncovers the benefits of winning the Jerwood Painting Prize.
Originally I was obsessed with painting from my imagination using the figure as the dominant subject.
Roy Exley charts the purpose of paint in the work of four artists.
