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The exhibited works of Kurt Jackson (b.1961) do not necessarily reveal his day-to-day working practice. Behind his finished canvases are hundreds of sketchbooks borne out of his continual routine of making drawings, marks, notes, poems and scribbles. This book examines the importance of the sketchbook to Jackson. For Jackson, his sketchbooks are vital to the development and completion of his paintings. Often sketching while a painting evolves, the artist values each medium equally - the pages of his sketchbooks reveal how the hastily executed images can help him to work out what he wants to achieve on canvas, or simply capture a spontaneous image when there is not enough time to paint or draw properly. Illustrating mundane daily events and happenings as well as key moments, journeys and the overlapping ongoing project work, Jackson's sketchbooks are key to understanding his inspirations as an artist. Drawing on a selection of twenty sketchbooks, of differing sizes and a variety of media, this fascinating publication provides a rare insight in to the mind of a highly creative and original artist.
Exploring the career of artist and environmentalist Kurt Jackson, this publication has at its centre the artist and the natural world. Jackson's paintings are set in places that he has travelled to and explored regularly, and are created by an individual with a deep understanding of natural history and ecology.
Natural history and art have been life-long preoccupations of the leading British painter Kurt Jackson (b.1961). For this book, Jackson has returned to zoology, the subject he studied at university, to create a beautiful bestiary: a body of work about fauna. Bestiaries date back to medieval times when religious instruction promoted the study and interpretation of animal life, often with the aid of elaborate illustrations. Later, the religious framework fell away, as artists and authors including Picasso, Toulouse Lautrec, Guillaume Apollinaire and Jorge Luis Borges used the form as a means of exploring nature, humanity and the relationship between the two. Jackson's contemporary bestiary extends this tradition, looking closely at both everyday and lesser-known species of birds, insects, mammals and fish in order to stimulate readers' connections with and appreciation of the world around them.
Kurt Jackson's Botanical Landscape is a new collection of poems, paintings, drawings, sculptures, and printmaking by the artist and staunch environmentalist: responses to his engagement with and rich experience within the natural world of flora. From day-to-day plants--weeds, the flowers in the hedge, familiar trees, and the vegetable garden--to the more unusual, twisted forms and strange fruit of the undergrowth, Jackson's works celebrate the staggering diversity of the plant kingdom. For the art enthusiast, the naturalist, the gardener, and the armchair horticulturist, Kurt Jackson's Botanical Landscape maps a particularly expressive communion with nature and offers a unique and beguiling interpretation of the natural world.
The New York Times Bestseller With inside access and reporting, Sports Illustrated senior baseball writer and FOX Sports analyst Tom Verducci reveals how Theo Epstein and Joe Maddon built, led, and inspired the Chicago Cubs team that broke the longest championship drought in sports, chronicling their epic journey to become World Series champions. It took 108 years, but it really happened. The Chicago Cubs are once again World Series champions. How did a team composed of unknown, young players and supposedly washed-up veterans come together to break the Curse of the Billy Goat? Tom Verducci, twice named National Sportswriter of the Year and co-writer of The Yankee Years with Joe Torre, will have full access to team president Theo Epstein, manager Joe Maddon, and the players to tell the story of the Cubs' transformation from perennial underachievers to the best team in baseball. Beginning with Epstein's first year with the team in 2011, Verducci will show how Epstein went beyond "Moneyball" thinking to turn around the franchise. Leading the organization with a manual called "The Cubs Way," he focused on the mental side of the game as much as the physical, emphasizing chemistry as well as statistics. To accomplish his goal, Epstein needed manager Joe Maddon, an eccentric innovator, as his counterweight on the Cubs' bench. A man who encourages themed road trips and late-arrival game days to loosen up his team, Maddon mixed New Age thinking with Old School leadership to help his players find their edge. The Cubs Way takes readers behind the scenes, chronicling how key players like Rizzo, Russell, Lester, and Arrieta were deftly brought into the organization by Epstein and coached by Maddon to outperform expectations. Together, Epstein and Maddon proved that clubhouse culture is as important as on-base-percentage, and that intangible components like personality, vibe, and positive energy are necessary for a team to perform to their fullest potential. Verducci chronicles the playoff run that culminated in an instant classic Game Seven. He takes a broader look at the history of baseball in Chicago and the almost supernatural element to the team's repeated loses that kept fans suffering, but also served to strengthen their loyalty. The Cubs Way is a celebration of an iconic team and its journey to a World Championship that fans and readers will cherish for years to come.
Kurt Jackson's latest touring exhibition, Place, launched at Southampton City Art Gallery. The book documents the Place Project -- a collaboration between the artist and 32 contemporary writers. Jackson invited each writer to choose, and then justify in words a Place in Britain. Then, in an epic series of journeys Jackson visited and worked at each chosen location responding with a series of paintings, drawings and sculptures.
Fifty rides take you over barrier islands, through forests, past farms, and within sight of the millions of birds that travel New Jersey's section of the Atlantic flyway.
KURT JACKSON A new book about the British landscape painter Kurt Jackson (b. 1961). This new hardback edition includes many new illustrations. including photographs taken for this new edition. The text has been completely updated. EXTRACT FROM CHAPTER 4: One of Kurt Jackson's appealing concepts is that the ocean is one of the last true wildernesses left on the planet. It's an idea that I found very interesting when he explained it to me when we first met in St Just. I took it that he meant a spiritual as well as an ecological or natural wilderness. Jackson's art can thus be seen as an art that is the border region between humanity and nature, between culture and nature, as well as literally tackling that area - the coast - which is neither land nor sea. Note that Kurt Jackson is always facing outwards from the land, and looking towards the ocean, not painting with his back to the sea, and looking towards the land (and notice that the many boats and ships and helicopters and such in this area are left out of the paintings, too). So Jackson's Porth series, about Priest Cove, and all of his sea paintings, are very important in his art in articulating this idea of the ocean as the last wilderness. 'Have you ever wondered what's out there?' is a question that Kurt Jackson asks (it's the title of one of his major paintings, too - the centrepiece of the Porth series). Jackson has repeated the question over a number of related works: the title of two 2004 pieces is The Last Wilderness In Western Europe? This was painted on Jura (in Scotland), and both pictures are consciously emptied of human marks - just empty moorland and a delicate blue sky. An earlier picture, part of the Cape series, was entitled Do You Ever Wonder What's Out There? (1999) - an unusual composition in the Jackson oeuvre which puts the horizon very high, and focusses on the dark blue ocean flecked with white spray. Kurt Jackson isn't that interested in many of the connotations of the ocean - the moon, time, goddesses, rebirth (though moons do appear in his art from time to time). He's not really interested in religious or pagan or magical symbols in that way. And he's not that interested in shipping, fishing, and all things maritime, like J.M.W. Turner was. But when Jackson asks a question like 'have you ever wondered what's out there?', and considers the sea as one of the last wildernesses, that alters the interpretation of his sea paintings. It doesn't apply to all of them, though: in plenty of paintings (and not only the smaller or more modest ones), Jackson is not thinking in terms of big themes. Fully illustrated, with a revised text. Bibliography and notes. ISBN 9781861714480. Also available in hardback. www.crmoon.com REVIEWS ON AMAZON: A well- written and thoughtful book. * So useful to gain such insight into an artist's life and inspirations.