4 photographs, gelatin silver prints on paper
Tate Modern
Tate Collection
Works with images
Works on display
General Collection
Collection
<a href="https://www.tate.org.uk/art/artists/lyle-ashton-harris-29038" aria-label="More by Lyle Ashton Harris" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Lyle Ashton Harris</a>
Constructs 10  13
Lent by the Tate Americas Foundation, purchased with funds provided by the North American Acquisitions Committee, The Agnes Gund Fund and Salon 94 2019
<p>Harris strikes four different poses. His stance and gestures might remind us of classical sculpture or ballet, his hand on his hip, or his feet extending out as if in a ballet position, the large net bow reminiscent of a tutu. Harris has said he has used self-portraiture since the 1980s ‘as a tool for embodiment, to reimagine the self while looking at the past, to meditate on the present as a way to conceptualize the future and rethink our understanding of identity.’ Made at the height of the AIDS pandemic<span>, Constructs #10 – #13</span> was for Harris ‘almost an aggressive assertion of sex-positiveness... it was about challenging the policing of the... queer black body.’</p><p><em>Gallery label, November 2022</em></p>
paper print 4 photographs gelatin silver prints
18 July 2022
18 July 2022
2022-07-18
Tate Modern (London, UK)
http://www.tate.org.uk/modern/
2022-07-18
Performing Genders, Performing Selves
Collection based display
21 November 2024 – 5 May 2025
2025-05-05
21 November 2024 – 5 May 2025
2025-05-05
2024-11-21
Tate Britain (London, UK)
http://www.tate.org.uk/britain/
2024-11-21
The 80s: Photographing Britain
Exhibition
Constructs #10 - #13
image: 1935 × 1210 mm
image: 2008 × 1120 mm
image: 2000 × 1124 mm
image: 2050 × 1018 mm
Lent by the Tate Americas Foundation, purchased with funds provided by the North American Acquisitions Committee, The Agnes Gund Fund and Salon 94 2019
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<p>Harris strikes four different poses. His stance and gestures might remind us of classical sculpture or ballet, his hand on his hip, or his feet extending out as if in a ballet position, the large net bow reminiscent of a tutu. Harris has said he has used self-portraiture since the 1980s ‘as a tool for embodiment, to reimagine the self while looking at the past, to meditate on the present as a way to conceptualize the future and rethink our understanding of identity.’ Made at the height of the AIDS pandemic<i>, Constructs #10 – #13</i> was for Harris ‘almost an aggressive assertion of sex-positiveness... it was about challenging the policing of the... queer black body.’</p>
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2022-11-02T00:00:00
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