St Just, Cornwall, 17 January 2014
Interview by NICOLA HOMER
Filmed by MARTIN KENNEDY
A keen environmentalist, Jackson has worked with Greenpeace and Friends of the Earth. Humanitarian and ecological concerns have shaped his artistic practice for more than 20 years, whether narrating the lives of fishermen, collaborating with a hospital surgeon, capturing the light and colour of the River Thames, or travelling to a remote part of Scotland to paint a writer’s house.
The view from Kurt Jackson's fisherman's hut studio, Priest Cove, Cape Cornwall, 17 January 2014. Photograph: Martin Kennedy.
Priest Cove, situated on the wild Atlantic coast, is where Jackson has created a key sequence of seascapes, and the place he selects to discuss the connection between his art and the community. Inland, he presents a future project space, talks about his favourite sculptures and opens the door to his studio, where he tells the stories behind his current paintings.
Kurt Jackson in his St Just studio, with a painting of a dead fox, 2014. Photograph: Martin Kennedy.
Kurt Jackson in his St Just studio, 2014 with All that's left, 1997/2003. Photograph: Martin Kennedy.
Exterior of the building that will house the Jackson Foundation, St Just, Cornwall, 2014. Photograph: Martin Kennedy.
Kurt Jackson inside the building that will house the Jackson Foundation, St Just, Cornwall, 2014. Photograph: Martin Kennedy.
Kurt Jackson with No Go By bird man, Ronnie, 2013.
Xiangshan Campus, China Academy of Art, Hangzhou, China
Established in 1928, the China Academy of Art is the first comprehensive art academy in China committed to integrating eastern and western art in its curriculum, while creating contemporary art according to the principles of Chinese culture. The new Xiangshan campus, located in the outskirts of Hangzhou, marks another chapter in the development of the school towards a 21st-century educational model.
Constable: The Great Landscapes
This fascinating exhibition brings together several of Constable's best-known pictures in the form of full-scale sketches - the so-called 'six-footers'. These are supported and informed by works on other scales, sketches and documentary material.
An Englishman in Tasmania - Nicholas Blowers
Nicholas Blowers was born in Chelmsford, England in 1972. He studied locally, and then Fine Art at Southampton, graduating in 1994. In Europe he remains largely undiscovered, but he has already made an impact both in Sydney and Tasmania, where he relocated in 2007. Blowers works on the depiction and experience of landscape elements, chiefly the detritus of forests. Most recently, in Tasmania, his art has focused upon the serially damaged forests and their landscapes.
Mediators and Messengers: Contemporary Art in the Landscape
The entire agenda for painting about landscape has shifted in the 21st century. Concepts and readings of the land have a weighty and protracted precedence but in the 1970s, far-reaching revisions were explored by artists. These have generated a powerful volume of new work by painters, and installation and land artists.
Book review: Sir John Vanbrugh: Storyteller in Stone
A new biographical study of the architect Sir John Vanbrugh (1664-1726) is most timely. The historical importance of this remarkable polymath has been in need of revision for four decades or more. Vanbrugh was positioned in different ways by Sir John Summerson, for example, or by Sir Niklaus Pevsner. On one hand, due recognition was paid to him for the designs of Castle Howard, and for Blenheim Palace, especially. But in the past two decades, the relationship of such buildings to their total landscape has been reconsidered, as has the work by Vanbrugh's collaborators, such as Nicholas Hawksmoor, and even successors, such as Capability Brown.