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JOHN A WALKER's Comments

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At 17:31 on July 4, 2011, Paul G Neale said…
I had a subscription to Alba for more or less however long it lasted. I used to follow Peter Hills work, especially when I lived abroad. Now I sometimes read Turps Banana. Tim Hymen wrote a great essay on Tieppolo in Alba once. Z.G was a great magazine too.
At 16:20 on July 3, 2011, Paul G Neale said…
I will keep you informed of what happens here. Michael Harrison runs a tight ship down at Kettles Yard and the colleges ( as you know ) are chock a block with first rate stuff. Did you ever in your career get down to what was then W.S.C.A.D at Farnham? I started as a Foundation student there in 1975. We had the most brilliant tutors and visiting lecturers.
At 5:56 on July 3, 2011, Paul G Neale said…

Dear John, thankyou for your cyber friendship.Have you ever visited Kettle's Yard here in Cambridge ? The Fitz william has some astonishing old master drawings . Best wishes, Paul


At 11:45 on March 15, 2011, Jiyoung Kim said…

Dear.John, we are a monthly magazine [Designnet]based on Korea, we'd like to contect you ASAP.


At 12:12 on July 15, 2010, Bob Appleton said…
John, I remember taking your Art History class at Alexandra Palace in 1975 - a small lecture room on a balcony above the studios if I remember correctly. Art Since Pop must have been just published.

My personal argument at the time was that as artists we didn't need art history. if we expressed the present, then there was nothing more we could do. And although I still believe that, I see now how historians and philosophers influenced my now from the beginning "lerning is a slo proces" (as Billy Bunter might have said).

So perhaps now with this link from Shaun Belcher, I can retake the class ;)
At 8:53 on March 4, 2010, alison williams said…
hi i really like nude
At 16:21 on February 23, 2010, Batya said…
You use orange in a most interesting and versatile way! I enjoy your works and concepts very much. Many wonderful works!
At 18:27 on February 17, 2009, Shaun Belcher said…
am back..latest at

can't keep an altermodernist down...
At 17:49 on September 25, 2008, JOHN A WALKER said…
by all means contact pluto press
At 11:18 on September 6, 2008, Rob Van Beek said…
I absolutely take your point about giving up self-censorship.

I find myself desperate to try things out and sod the consequencies. Good stuff emerges, as you say.

Yes, a lot of art historical works had an iconological background that would have been dead familar to its audience.

But that makes the narrative content redundant and unobtrusive, transparent.

The difficulty with unfamiliar narrative paintings is they involve a kind of mundane puzzle-solving which can be at odds with other aspects looking at work.

Apologies for responding sooner. I kinda lost track of where these comments were made...ROB
At 4:21 on July 8, 2008, JOHN A WALKER said…
re- art education - yes I have experiences decades of its ups and downs. I could write a book but the market for it would be too small. An ex colleague of mine - Lisa Tickner - has recently written an illuminating account of the Hornsey occupation in 1968.
At 4:15 on July 8, 2008, JOHN A WALKER said…
re illustration - I take the point but, on the other hand, probably 70 per cent of all historic art has illustrated myths, the bible, etc. After decades of harsh self censorship I decided - on resuming art making - not to reject anything in the hope that some good work would emerge amongst the dross. I want to make art that can comment on the world and is not just about adjusting red and green blocks of colour.
At 14:54 on July 6, 2008, Rob Van Beek said…
Thanks for the bibliography. I wouldn't have minded penning some of these titles myself, but, alas, I lack application.

You must have seen some good times and bad in British Art education?

I have to admit that when I said your paintings speak for themselves this was not entirely meant as a compliment.

Temperamentally I enjoy the aesthetics of making art over art's more illustrative or didatic role.

I think good political art is possible, but both the aesthetics and the politics have to be up for grabs.
At 7:29 on July 6, 2008, JOHN A WALKER said…
A Glossary of Art, Architecture and Design since 1945 (London: Library Association, 3rd edn 1992).

Art since Pop (London: Thames & Hudson, 1975).

Van Gogh Studies: Five Critical Essays (London: JAW Publications, 1981).

Art in the Age of Mass Media (London: Pluto Press, 1983/London & Sterling, VA: Pluto Press, 2nd edn 1994; 3rd edn 2001).

Crossovers: Art into Pop, Pop into Art (London: Comedia/Methuen, 1987).

Design History and the History of Design (London: Pluto Press, 1989).

Art and Artists on Screen (Manchester: Manchester University Press, 1993).

Arts TV: A History of Arts Television in Britain (London: Arts Council & John Libbey, 1993).

John Latham – the Incidental Person – his Art and Ideas (London: Middlesex University Press, 1995).

(with Sarah Chaplin) Visual Culture: An Introduction (Manchester & New York: Manchester University Press, 1997).

Cultural Offensive: America’s Impact on British Art since 1945 (London & Sterling VA: Pluto Press, 1998).

Art and Outrage: Provocation, Controversy and the Visual Arts (London & Sterling VA: Pluto Press, 1999).

(With Rita Hatton) Supercollector: A Critique of Charles Saatchi (London: … ellipsis, 2000).

A Few 'Semiotic' Paintings of 1975, Unknown and Destroyed, (London: Institute of Artology, 2002).

Left Shift: Radical Art in 1970s Britain, (London & New York: I.B. Tauris, 2002). 1-86064-765-0 (H) £39.50. 1-86064-766-9 (P) £14.95.

Art and Celebrity, (London & Sterling, VA: Pluto Press, 2003).

(With Rita Hatton) Supercollector: A Critique of Charles Saatchi (London: Institute of Artology, 2nd edn, 2003).

Learning to Paint: A British Art School and Art Student 1956-61, (London: Institute of Artology, 2003).

FIREFIGHTERS IN ART AND MEDIA: A PICTORIAL HISTORY, (London: Francis Boutle Publishers, published April 2005). Hardback. Pages 208 , 225 illus (many in colour), bibliography, index. ISBN 1-903427-23-1.

(With Rita Hatton) Supercollector: A Critique of Charles Saatchi (London: Institute of Artology, 3rd edn, 2005).

WORK: Ford Madox Brown’s Painting and Victorian Life, (London: Francis Boutle Publishers, 2006). ISBN 1-903427-29-0, £20.

Rita Hatton interviews John A. Walker, Oranges are the Only Fruit: New Paintings by John A. Walker (London: Institute of Artology, 2006), 24 page illustrated booklet.
At 13:32 on July 5, 2008, Rob Van Beek said…
Art and the Mass Media? I'm testing my memory now...
At 12:41 on July 5, 2008, Rob Van Beek said…
That's right. I knew I had come across both the critical writer and the John Moores winner, now I can unconflate the two.

I remember BLOCK. When I finished art school I started to get bits of art history teaching but I decided that I didn't go to artschool to become an art historian and started drawing again.

Your paintings certainly seem to speak for themselves. All the best ROB

Didn't you write a book on the Readers and Writers imprint?
At 20:36 on July 4, 2008, Rob Van Beek said…
Dear John,

Did you used to make abstract paintings? I'm sure I can picture one. Black and white perhaps?

And didn't you have a hand in Artscribe?
At 18:44 on July 2, 2008, JOHN A WALKER said…
Yes I would like to exhibit the Mourning work series together and have an essay on their origins and purpose but so far no art dealer has expressed any interest in showing them.
At 14:24 on July 2, 2008, jan lewin-cadogan said…
thought provoking work, would you exhibit these all together to form the narrative john
At 7:30 on June 30, 2008, mike hinc said…
Nice work. And if I read you right, I think you're right - tears are not enough.


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