Stephen Newton’s 2013 work ‘Room with a View of Cliffs’ has been chosen by the Madison Museum of Fine Art in Atlanta – Georgia USA to feature in it’s innovative exhibition programming.
The Museum collection includes paintings, sculpture, prints, and ceramics from around the world. The Museum’s print collection now includes works by Picasso, Dali, Chagall, and Roualt.
While Newton’s work is interpreted in many different ways by many different observers, refreshingly in his own words, Newton provides the following rare personal insight in to this specific work:
My paintings never refer to a specific place that could actually be located somewhere. They don’t have any narratives or symbolism or anything to do with dreams or memories, or any other agendas of any sort. One New York critic used the term ‘stultifying indifference’ to describe them, which I think he meant as a compliment – I certainly took it as one (1). Nevertheless, my painting does deal in emotion and tries to intuitively pinpoint emotions and transfer them to the viewer. Many have told me that they are somehow moved by my work or that the image becomes stuck in their head – but they don’t know why. There doesn’t appear to be any obvious reason for this, which can itself be paradoxical or disturbing.
Room with a View of Cliffs is an interior, a psychic interior as much as one that depicts a room. There are only interior or exterior spaces – you are inside or outside; things are either within you or without you. At the core of all my painting is the usually unacknowledged human predicament, so there must be isolation, some barrenness; we are all ultimately alone and of course sooner or later, absolutely alone.
All of my work is seen through an abstract lens. My latest tour in England was called Life in the Abstract. I believe for reasons that I have been writing about for many years that an abstract template is closer to real emotion, that abstracted work somehow distils and intensifies emotion. After all, the overwhelming preponderance of art over the last 50,000 years has been to a degree abstracted and disfigured and it is this abstract essence that can register such an authentic emotional power.
In Room with a View of Cliffs there was however one concession to reality. A few years ago my youngest son bought me a large book on poison frogs, mainly found in South American jungles. Their markings are truly wondrous to behold. One thing is for sure, conceptual art will never compete with nature. The settee and the table in the painting take their markings from a poison frog in that book.
- Donald Kuspit: The Post-Modern Icon – Stephen Newton’s Post-Abstract Paintings. In Stephen Newton – Paintings and Drawings 1997-2000 pp.i-ix. (Ziggurat Books, London, 2000).
Stephen Newton (2014)
A catalogue piece written by Ray Masters for a show I did in Lincoln in 1986.
Click to enlarge.
A great tutor and friend who sadly passed away recently. He will be greatly missed.
“I enjoyed the exhibition, an interesting array of styles, mediums and artists. I did find myself particularly transfixed though.
The oil paintings by Stephen Newton . . . simply stunning, I simply couldn’t stop looking at Window onto a Street with the nagging question of ‘what makes this so good?’
I’m not going to try and define Stephen Newton’s work, it’s beyond my expertise and vocabulary – I can’t even tell you what makes them so good in layman’s terms, all I can say is they bowled me over – simply stunning.”
- Rod Collins.
The moment Hull was recently named the UK’s next City of Culture, beating Leicester, Dundee and Swansea Bay to the right to hold the title in 2017, Stephen Newton was invited to exhibit his work in the cutting edge contemporary gallery at Studio 11.
Studio 11 fronts Humber Street close to Hull Marina and in the heart of the Fruitmarket cultural quarter. It is a short walk from the spectacular Deep, Ferens Art Gallery and the old High Street museum area and close to the Humber estuary.
Newton’s work will be exhibited from 25th January – 2nd March 2014.
Stephen Newton’s drawing accepted in to Abbot Hall Gallery collection.
The Gallery is housed in one of Kendal’s most important buildings, a Grade I listed villa, on the banks of the River Kent. The galleries offer two floors of light-filled spaces in which to see art.
Abbot Hall has a comprehensive collection of George Romney’s work. His paintings are hung in the elegant historical settings for which they were painted, amongst fine 18th-century furniture and porcelain.
Watercolours are shown in a small gallery reminiscent of a collector’s private room, with regularly changing displays that allow a Turner to be seen alongside a Ruskin or a Constable sketch next to works by the likes of Cotman, Cozens and Edward Lear.
Abbot Hall has been one of the most active galleries collecting British art in recent years and important works have been acquired, ranging from a Turner watercolour of Windermere to portraits by Stanley Spencer and abstract paintings by Bridget Riley and Sean Scully. Abbot Hall has also secured some spectacular long-term loans, including works by Constable, L. S. Lowry and Lucian Freud.
As well as a fine permanent collection, Abbot Hall is acknowledged as having one of the most imaginative and independently minded temporary exhibition programmes outside London.
Newton’s Drawing in Pencil & Oil Wax Crayon accepted in to the Abbott Hall Gallery collection.
For more information on Abbot Hall Gallery click here.
Stephen Newton’s Drawing has been accepted in to the Rugby Art Gallery collection of Works on Paper.
The Gallery holds a significant collection of 20th Century British painting, including major works by artists such as Kossof, Freud (work on paper), Hambling, Wood, Wyndham Lewis, Craigie Aitchison, L S Lowrey, Stanley Spenser, Bridget Riley (work on paper), Paula Rego and Barbara Hepworth.
Stephen Newton’s painting: Self-Portrait by a Mirror (60x54in) 2011, has been included in the new museum collection of 21st Century British Painting at Swindon Art Gallery.
Self-Portrait by a Mirror (60x54in) 2011
Robert Priseman generously commented to Stephen Newton: ‘It was on seeing your stunning work at UCS that we gained the confidence to propose you again
for this second collection.’
Three works have been included in the New East Contemporary Arts Collection at the Waterfront Gallery of the University Campus Sussex. They are:
Room at Night (76x110in) 2003
Window (38x40in) 2000
Woman Resting at Night (48x42in) 2012
The curator Robert Priseman says:
‘The East Contemporary Art Collection is home to some of the very best contemporary art held in East Anglia. It provides a gateway for anyone who wishes to see some of the finest examples of work by artists of national and international importance living and working in the East of England today.’
Also, the painting: Self-Portrait by a Mirror (60x54in) 2011, has been included in the new museum collection of 21st Century British Painting at Swindon Art Gallery. Robert Priseman generously commented to Stephen Newton: ‘It was on seeing your stunning work at UCS that we gained the confidence to propose you again
for this second collection.’
CAMBRIDGE CITY ART FAIR:
14th-17th November 2013.
Guildhall, Market Square, Cambridge CB2 3QJ.
Abbey Walk Gallery, Stand 24.
LONDON ART FAIR 2014:
Islington 2014 with Abbey Walk Gallery.
Stephen Newton at the PV of the Los Angeles based painter David Eddington held at the Abbey Walk Gallery. With the editor of STATE magazine Mike Von Joel and the musician and songwriter Andy 0′Donnell.