Photograph, black and white, gelatin silver print, on paper
Tate Collection
Works with images
General Collection
Collection
Tate Modern: Ten Artists, Ten Images
<a href="https://www.tate.org.uk/art/artists/craigie-horsfield-2318" aria-label="More by Craigie Horsfield" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Craigie Horsfield</a>
Bankside Power Station London December 1994
Presented by Tate Publishing 2000
Bankside, Bankside Power Station
Bankside, Tate Modern
emotions, concepts and ideas
England
formal qualities
interiors
machinery
objects
photographic
places
power station
tools and machinery
UK countries and regions
UK London
workspaces
<p>This is one in a portfolio of ten photographs commissioned by Tate Publishing to celebrate the opening of Tate Modern in May 2000. Ten contemporary artists working with photography were invited to make an image inspired by the Bankside building and its surroundings. The resulting pictures chart different aspects of the site’s development from power station to museum of modern art under the direction of Swiss architects Herzog and de Meuron. With the exception of Craigie Horsfield, all the contributors photographed in colour.</p>
paper print photograph black white gelatin silver
Bankside Power Station, London. December 1994
unconfirmed: 591 × 492 mm
Presented by Tate Publishing 2000
<p>This is one in a <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/p/portfolio" title="Glossary definition for 'Portfolio'"><span>portfolio</span></a> of ten <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/p/photograph" title="Glossary definition for 'Photograph'"><span>photographs</span></a> commissioned by Tate Publishing to celebrate the opening of Tate Modern in May 2000. Ten contemporary artists working with photography were invited to make an image inspired by the Bankside building and its surroundings. The resulting pictures chart different aspects of the site’s development from power station to museum of <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/m/modernism" title="Glossary definition for 'Modernism'"><span>modern art</span></a> under the direction of Swiss architects Herzog and de Meuron. With the exception of Craigie Horsfield, all the contributors photographed in colour.
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<br/>The artists focused on the structure of Bankside Power Station and its conversion, on the surrounding area of London and the impact of Tate Modern on it, and on the staff and contractors working at the site. Both Horsfield’s image, <i>Bankside Power Station, London. December 1994</i>, and <i>Bankside 5 1995</i>, 1995<i> </i>(Tate <span>P1168</span>) by Thomas Struth show interior views of Bankside before work began on the conversion in 1994. Catherine Yass’s <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/l/lightbox" title="Glossary definition for 'Lightbox'"><span>lightbox</span></a> transparency, <i>Bankside: Cherrypicker </i>2000 (Tate <a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/yass-bankside-cherrypicker-p11685" title="View the details of this artwork"><span>P11685</span></a>), presents a view of construction work underway in the Turbine Hall, featuring the equipment and materials of the building processes but not the builders themselves. For <i>Arrow</i> 2000 (Tate <a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/billingham-arrow-p11677" title="View the details of this artwork"><span>P11677</span></a>), Richard Billingham photographed one of the hidden spaces underneath the building, where he found a faint <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/c/chalk" title="Glossary definition for 'Chalk'"><span>chalk</span></a> arrow drawn on a section of concrete. Thomas Ruff, who has photographed a number of Herzog and de Meuron’s buildings in Germany and Switzerland, superimposed a reflection of the tiles from the Café onto an interior view of the glass wall inside the Turbine Hall to create <i>Tate01, </i>2000 (Tate <a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/ruff-tate01-p11681" title="View the details of this artwork"><span>P11681</span></a>). <i>True Stories 8, </i>2000 (Tate <a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/collins-true-stories-8-p11678" title="View the details of this artwork"><span>P11678</span></a>) by Hannah Collins is a dramatic photograph of the skyline view of the City of London from Bankside, dominated by an intense green sky. <i>Untitled (00.1), </i>2000 (Tate <a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/barth-untitled-00-1-p11676" title="View the details of this artwork"><span>P11676</span></a>) by Uta Barth is a two-part image comprising photographs taken from near and far viewpoints through the wall of windows under the museum’s roof. Both photographs look through black lettering applied to the outside of the glass, across the Thames River to the buildings on the other side. Sam Taylor-Wood photographed a member of the curatorial team working at the museum, set in the lush red seating of the museum’s Starr auditorium, for her image entitled <i>Red </i>2000 (Tate <a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/taylor-johnson-red-p11682" title="View the details of this artwork"><span>P11682</span></a>). By contrast,<i> James. Tate Modern, London. 10 December 1999,</i> 1999 (Tate <a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/dijkstra-james-tate-modern-london-10-december-1999-p11679" title="View the details of this artwork"><span>P11679</span></a>)<i> </i>by Rineke Dijkstra is a <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/p/portrait" title="Glossary definition for 'Portrait'"><span>portrait</span></a> of a workman standing in front of a newly plastered gallery wall. Finally, Jeff Wall’s image of a young tree fixed to a wooden support, <i>A Sapling Held by a Post </i>2000 (Tate <a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/wall-a-sapling-held-by-a-post-p11684" title="View the details of this artwork"><span>P11684</span></a>), may be read both as a symbol of the regeneration of the surrounding parts of Southwark and of Tate Modern’s potential for the future. 
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<br/>The portfolio <i>Tate Modern: Ten Artists, Ten Images</i> was commissioned for sale in an <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/e/edition" title="Glossary definition for 'Edition'"><span>edition</span></a> of fifty. Proceeds from sales are being put towards running costs of the exhibitions and displays programme at Tate Modern. An additional five artists’ proofs were produced. Three of these remain the property of the artists; one was used as an exhibition copy for the opening display at Tate Modern and the final one, this one, is in the Tate Collection and may be viewed in the <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/p/print" title="Glossary definition for 'Print'"><span>prints</span></a> and <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/d/drawing" title="Glossary definition for 'Drawing'"><span>drawings</span></a> room.
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<br/><b>Further reading:</b>
<br/>Deyan Sudjic, ‘Modern Masters’, <i>Tate: the Art Magazine</i>, Tate Modern Special Issue, No.21, Tate Modern 2000, pp.20-5
<br/><i>Craigie Horsfield: The City of the People</i>, exhibition catalogue, Fundació Antoni Tàpies, Barcelona
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<br/>Elizabeth Manchester
<br/>May 2004</p>

Summary
2005-09-15T00:00:00
summary
SHORT_TEXT
Bankside, Bankside Power Station Bankside, Tate Modern emotions, concepts and ideas England formal qualities interiors machinery objects photographic places power station tools and machinery UK countries and regions UK London workspaces