Ski Jacket by Peter Doig.


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by TOAST ( 03.05.13 )

A Northern Lake by Tom Thomson.


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by TOAST ( 26.04.13 )

Puglia, Les Pouilles by Franco Fontana.


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by TOAST ( 12.04.13 )

The Vale of the White Horse by Eric Ravilious.


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by TOAST ( 05.04.13 )

Flowers by Andy Warhol. 1964.


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by TOAST ( 22.03.13 )

The Bridge, Staithes by Sydney Lee. 1904. Colour woodcut. Private collection. © estate of the artist.

From the Shadows: The Prints of Sydney Lee RA is showing at the Royal Academy of Arts until 26th May 2013. This long overdue celebration of the art of Sydney Lee RA (1866–1949) offers an opportunity to rediscover the work of one of Britain’s most significant yet overlooked painter-printmakers. The exhibition coincides with the launch of the first publication on Lee, written by the exhibition’s curator, Professor Robert Meyrick, Head of the School of Art at Aberystwyth University. Find out more here.


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by TOAST ( 15.03.13 )

Love = Love #2 by Kent Rogowski.

www.kentrogowski.com


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by TOAST ( 08.03.13 )

Study of Sky and Trees by John Constable.

Study of Sky and Trees, c. 1821 by John Constable.


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by TOAST ( 22.02.13 )

The lengthening evenings and prospect of a long Easter weekend leave us unable to think of much else at present than getting out of town and out of doors. There is something about the changing of the clocks, the moving so consciously from one season to another, that re-focuses attention on the world around us. It’s as though the new, expanding light gently makes us aware again of our place in the larger world, shows us what we’ve been doing that is unnecessary and reminds us that the best work is that done with modesty, without distraction and with singular intention. While we re-orient ourselves in this way, here are some other people and things whose simplicity of focus we admire…


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by TOAST ( 02.04.12 )

On Radio 4′s Front Row earlier this week Andrew Stanton, the film-maker behind Toy Story, Finding Nemo and other such Pixar wonders, was asked by Mark Lawson whether the opening scene of WALL-E was too bleak and frightening for a film aimed at younger children. Lawson had barely finished his question before Stanton shot him down for making the ‘fundamentally wrong’ assumption that his films were made with any particular demographic group in mind. Why would that even be necessary? He continued ‘I never thought the Beatles were trying to guess my demographic, I never thought Picasso was trying to test who the audience might be…’ After several minutes in this vein, it was clear: Andrew Stanton’s only priority is to make films that he believes are good, regardless of what others might think. He has absolute faith that if they are good enough, the rest will follow.

This is refreshing. The world is all too full of research into “customer bases”, focus groups, talk of target demographics. So much better to allow the creative imagination its freedom, link that flight to a drive to produce something really good – and trust that quality will find its own constituency (or, if you must, market). In a world full of commercial pressure and seemingly set (and unimaginative) paths to success it’s so easy to deviate from such single-minded purpose. There’s a sort of gravity, as enterprises find success and expand, that pulls creativity towards mediocrity, risk towards security. This must be resisted!

Here are some good things around at the moment from artists who follow their hearts – or their art – rather than the dollar…


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by TOAST ( 09.03.12 )
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