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Tim Bavington Paperback – August 15, 2006

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Product Details

  • Paperback: 128 pages
  • Publisher: Steidl/Mark Moore Gallery (August 15, 2006)
  • Language: English
  • ISBN-10: 3865212859
  • ISBN-13: 978-3865212856
  • Product Dimensions: 8.5 x 10.9 x 0.5 inches
  • Shipping Weight: 1.7 pounds
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #2,944,906 in Books (See Top 100 in Books)

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By Hilarie Ann Fallon on April 12, 2006
Format: Paperback
This book proves to be a superb survey of one of the more interesting emerging talents on the West Coast. Tim Bavington uses both traditional and unconventional devices to compose sprayed stripe paintings. Sources have ranged from the Ancient Greeks, 13th C. and Renaissance Italian mathematicians, musical notation and theories of color harmony, to the binary bar codes used to identify virtually every product in society today.

This book mostly focuses on his paintings of the musical variety. They are hypnotic paeans in paint to artists and music of the past several decades. Composed after sampled sequences of music - mostly guitar solos. Titling his paintings after famous and obscure songs alike, Bavington transposes sheet music into paint by assigning each note a particular color. Each paintings' palette is produced by combination of the 12 hue color wheel and the 12 tone scale. The bandwidth of the painting's stripes, in turn, is determined by the length of each note within the sequence.

With the use a computer Bavington has lately been creating text and language based stripe paintings from bar codes. Text is translated into barcode which can be revealed by scanning with an appropriate device. However, when enlarged in scale and sprayed onto canvas the code becomes illegible to both computer and human eyes.

A prot?g? of art critic Dave Hickey, who wrote the catalog essay, Bavington was included in his important Ultralounge exhibition of new, young painters in 2000 - where I became aware of the work. Hickey writes, "Tim Bavington arrived in Las Vegas from Shepherd's Bush in London (via Art Center in Pasadena) and he remains now what he was then, the thinking man's Mod - the progeny of Quadrophenia and Bridget Riley's great paintings from the Sixties."

Bavington proves that it is not a sin in these times to make smart, beautiful, and enaging abstract painting. Great book. Fantastic work.
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