Portrait of the Lost Travelogue Writer

Continuing with our 2020 feature of images from our Steven Campbell Calendar, our March selection is:

Portrait of the Lost Travelogue Writer

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This painting is a personal favourite of mine being as it is dominated by the self-portrait of Steven. Although he never deliberately set out to paint himself it was rather just an innate understanding of his own face, which he would often pass his hand over while painting.

It also has a true poetry (like Man who Climbs Maps) mixed with the ridiculous quality of a Wodehouse, Bertie Wooster scenario.

The background is dominated by 3 recognisable tourist attractions, the Pyramids/Sphinx, the Vatican and Westminster Abbey. The harlequin styled figure to the right was inspired by an old postcard Steven bought in Aix en Provence while visiting Cezanne’s studio at Jas de Bouffan.

The blue pyramid shapes were inspired by a visit to the Picasso museum in the Marais, Paris and the Las Meninas series. He took the Picasso pyramid shape and turned it around adapting it to his needs while still acknowledging the original.

The falling figure harks back to his drawing of The Fern’s revenge on the Gardener, while the optical illusion skull was inspired again by old French postcards and the work of Danish psychologist Edgar Rubin with his profiled heads forming a white vase, which do you see first?

As in all of Stevens work, we’ve come upon our protagonist midst scene, like a still from a movie where we can guess at what has passed but must make up our own script as to his future.

 

Carol Campbell

 

 

February: Crash Cubism (The Neo-Classical Period).

Continuing our 2020 feature of images from our Steven Campbell Calendar, our February selection is: ‘Crash Cubism’ (The Neo-Classical Period).

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Crash Cubism, Oil on Canvas, ©️Steven Campbell Estate

Carol Campbell:

This painting was created as part of Steven’s 1990 exhibition, On Form & Fiction, at the Third Eye Centre Glasgow,  which is now the CCA.

The main gallery space was given over to the installation of a faux museum with large drawings forming the illusion of hand painted wallpaper with the paintings hung as if in a museum setting, complete with benches, table and ‘Je t’aims . . . moi non plus’ playing on a reel to reel tape recorder. In the side room Steven decided to exhibit stand alone large scale oils on canvas ,of which Crash Cubism was one. 

Duncan MacMillan wrote the following in his book on Steven called ‘The Story So Far’:

‘The theme of English twentieth-century aesthetics, it’s particular struggle with Modernism (and it’s deluded belief that art itself held the ‘answer’) seems to be taken up in Crash Cubism.’  

At this point in time Steven was reading a lot about Ruskin and architecture and design in general. His love of film is also part of the fabric that makes this exhibition the tour de force it has been acknowledged to be. Tarkovsky mixed with Westerns throws up a lot of recurring images used both in the installation and the stand alone paintings.

Crash Cubism is seen at that crucial point of danger like many of Steven’s paintings. It’s the ‘still’ from the movie where we the viewer get to see the danger approaching along the trestle track, about to shatter the cubist painting and hurtle our hero/the artist to an unknown fate.

 

January: Attenti al cane e tutti la Famiglia

 

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Image Title: Attenti al cane e tutti la Famiglia, translated to English: Beware of the  dog and all the family.

 

John Ferry, Trustee, The Steven Campbell Trust:

For a number of years now, my fellow Trustees and I (The Steven Campbell Trust) have been delighted to receive as a Christmas Gift from Carol Campbell, a wonderful Steven Campbell Calendar, designed by Carol. These are always cherished and a delightful way to share Steven’s work and to be reminded throughout the year, of his wonderful paintings.

Recently Carol suggested that we make this a feature for our website, so for 2020 we’ve decided to share these works with you, with anecdotes from Carol on each painting.

We wish you a very Happy New Year and hope you enjoy!

 

Anecdote by Carol Campbell:

This painting was based on an actual sign we saw on the gate of a house in the hilltop village of Paciano in Umbria.

We had eaten lunch in the tiny cafe in the town and went for a wander afterwards and it was then Steven spotted the sign.

I’m embarrassed to admit that lacking a camera to photograph the image he pinched the sign, but at least it was put to good use!

The painting then became realised during his John Byrne, Paisley Pattern period, but you can see the warning and the symbols of the original sign such as the knife, gun and dog.

The Lytton Strachey look alike is Steven, with a nod to our own family with the addition of the little girl.

 

A Very Happy New Year from The Steven Campbell Trust!

Link to original image:

Image Title: Attenti al cane e tutti la Famiglia, translated to English: Beware of the  dog and all the family.

 

Steven Campbell article: Luncheon N°8-2

The Steven Campbell Trust are delighted to share the recent publication of: The Art and Life of Steven Campbell by his wife Carol Campbell, published in Luncheon Magazine, 2019.

We would like to take this opportunity to share the introduction with you and provide a link for purchase.

From introduction:

‘The Scottish artist Steven Campbell is best known as a painter, but his wider work was postmodern, encompassing a range of interdisciplinary media. He was a graduate of Glasgow School of Art, which he attended after several years working at the Clydebridge Steelworks. He was proud of his working-class roots and this social context informed his work, which included performance, community art projects, appropriation, writing and immersive installations as well as his much-lauded paintings. He passed away in 2007 aged 54, and efforts are now being made to recontextualise his work and reveal his legacy.

Fashion designer Beca Lipscombe and fashion historian Mairi MacKenzie recently gave the 2019 Steven Campbell Trust Annual Lecture, entitled ‘Dressing Above Your Station’. They looked at Campbell’s life and work, reflecting upon his depiction of textiles and clothing as well as his personal wardrobe, in order to recount their own aspirations growing up in Scotland, and the routes they took in an attempt to develop a vernacular aesthetic’.

In this interview Steven’s widow, Carol Campbell, sits down with Mairi and Beca for a wonderfully personal talk about her life with Steven and chooses seven of her favourite works by him.

Above: Carol and Steven on the day of the Fulbright interview, London 1982.

Purchase link:

Luncheon Issue 8-2

https://www.kdpresse.com/en/LUNCHEON/

Love: A Very Particular Vision

Love: A Very Particular Vision

Exhibition Publication

19 January – 25 March 2018 

Publication: Love_StevenCampbell_webversion_v.2

Love was an exhibition of twelve large scale multi-media collages made between 1988 and 1991 by Steven Campbell, one of Glasgow’s most celebrated artists. The exhibition was curated by Linsey Young, 19th January – 25th March 2018, Tramway, Glasgow.

Campbell began the works on his return to Scotland in 1987 following a five year period of living and working in New York. The collages represent a little known, experimental  area of  Campbell’s practice which also includes clay, plaster and papier mache sculpture, drawing, printmaking and textile design.

While Campbell’s paintings were often executed with terrific speed – a canvas, he claimed, could be completed in five days – these large scale, predominantly two- dimensional collages were each made over a period of weeks, in part because of the laborious way in which the artist chose to work with material (hand painting and then adhering individual strands of string rather than painting once they were integrated into the collage). However the artist’s wife Carol Campbell has also attributed this change of a pace to a need for an activity to accompany a period of reflection and contemplation, a form of therapy through which Campbell could come to terms with the changes in his life following the family’s return from America.

Completed at the kitchen table, amid the rhythms of family life the resulting collages are testament to Campbell’s modest needs, his restless imagination and experimental nature but perhaps even more so to his sensitivity to the world around him. In these works we see a manifestation of the most powerful cornerstones of his life, his family, the natural world and his boundless imagination.

Love was curated by Linsey Young in collaboration with Tramway. The exhibition was accompanied by a catalogue including a new essay by Michael Bracewell, supported by Creative Scotland, a copy of which we are pleased to share online for the first time.

Graphic design –  Varv Varv  http://www.varvvarv.eu/

Steven Campbell Annual Lecture 2019

Dressing Above Your Station

Wed 12 June 2019

CCA, Sauchiehall Street, Glasgow.

We are delighted to share this wonderful recording of our recent Steven Campbell Annual Lecture at CCA, Glasgow.

In what proved to be a very well attended and compelling event, Beca Lipscombe and Mairi MacKenzie looked at the life and work of Steven, considering what it means to dress for the life you want rather than dress for the life you have. They reflected upon Campbell’s depiction of textiles and clothing as well as his personal wardrobe, in order to recount their own aspirations growing up in Scotland and the routes they took in an attempt to develop a vernacular panache.

Beca Lipscombe is a fashion and textile designer and one half of Atelier E.B. Mairi MacKenzie is a fashion historian and Research Fellow in Fashion and Textiles at Glasgow School of Art.

Our sincere thanks go to Beca and Mairi for their research towards this excellent presentation in CCA, and for coordinating filming of this fantastic event and sharing this with us.

Click on link below for credits for video lecture and video production:

Credits for Steven Campbell Lecture, CCA, Glasgow, 2019

Our thanks also to Beca for sharing images of Steven’s work from her recent research of Paisley Museums’ Collections.

To see in hi-res click on images below.

This life size portrait is a counterpart to Steven Campbell’s allegorical, amalgamated portrait of John Byrne, ‘Paisleycus Byrnicus Virus Invading Mr Gray, also Art Funded in 2006.

The painting is a physical and psychological likeness of a fellow artist and professional admirer.

This work was painted as Campbell was nervously awaiting a visit to the studio of John Byrne in Nairn.

John Byrne was born in Paisley and Campbell uses the Paisley pattern with references to Velasquez. First there is the device of a painting within a painting which echoes the work ‘Las Meninas’ and there is an allusion to Velasquez’ self portrait in the top right corner. Byrne’s Picasso-inspired shorthand inspired the little heraldic-looking dog, taken again from Velasquez. Byrne’s diverse practice made him something of a hero to Campbell.

‘The Golden City’, Oil on Canvas. 11 metres long and three metres high. Commissioned by airport operators BAA in 1990.

See Glasgow Herald article by Clare Henry, Looking the world in the eye, 17th April, 1995:

https://www.heraldscotland.com/news/12110741.looking-the-world-in-the-eye/

Word doc:

The Herald. 17th April 1995, Clare Henry, Looking the world in the eye.

 

Steven Campbell Trust, Hunt Medal Winner 2019

We are delighted to announce that this year’s Steven Campbell Trust Hunt Medal Recipient is Tess Wood, for her most recent work ‘Cannot Contain’, which is showing at the Glasgow School of Art 2019 Degree Show.

This work is comprised of a specific, architecturally designed performance space and a durational live performance piece.

The piece looks to reclaim representations of power that are commonly found in depictions of the male body within popular culture. Tess Wood seeks to reframe iconic sports and music imagery within her practice. Regressive feedback loops, repetitive sounds and movements are central to the work.

Through the interplay of props and body, confined intimacy and on-display vulnerability, Tess Wood embodies the frustrations felt at being confined within a set of societal codes and regulations relating to gender expression.

We would also like to thank staff from GSA for their assistance and support and look forward to continuing our ongoing relationship.

Finally we would like to extend our warm congratulations to Tess and wish her a successful career.

The Steven Campbell Trust.

https://www.instagram.com/tesshonorwood/

 

Tess Wood 1
Cannot Contain © Tess Wood 2019

 

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Cannot Contain © Tess Wood 2019