bigdata-pw/tate · Datasets at Hugging Face

Graphite and acrylic paint on paper

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3,423

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1,977

<a href="https://www.tate.org.uk/art/artists/edward-ruscha-1882" aria-label="More by Edward Ruscha" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Edward Ruscha</a>

DIRTY BABY

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00058

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7023900 7014285 2001343 7007525 7012149

Edward Ruscha

1,977

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In this drawing, the words ‘DIRTY BABY’ stand out in large grey capital letters against a black ground. Ruscha created the words by carefully drawing and contouring individual letters rather than by using stencils, making this work unique within his group of ‘catch-phrase’ drawings dating from the late 1970s in ARTIST ROOMS (Tate AR00053–AR00059). Centrally aligned on the page, the outlines of the letters are slightly irregular, as if each one had been cut by hand from an undulating piece of paper and placed against a matte background (Marshall 2003, p.162). Each letter was drawn on the page in graphite, before black acrylic emulsion was painted around them, covering the entire background. This layer of emulsion is thick and impenetrable, with no visible brushstrokes. The drawing’s dense background is balanced by the lightness of Ruscha’s touch within the lettering. Black pastel is applied in smudges to create rippling shadows inside the letters, making them a patchy, smoky grey. The letters therefore appear to be ‘dirty’ like the ‘baby’ of the title. The slight illusion of three-dimensionality is the result of the artist’s precise draughtsmanship which paradoxically leaves almost no trace of his hand. This work is reminiscent of Ruscha’s ‘cut paper’ single word drawings in gunpowder produced in the 1960s (Richards 2008, pp.44–5), which similarly evoke the historical technique of trompe l’oeil, literally ‘to trick the eye’, with skilled shading, light effects and the conjuring of three-dimensions from a flat paper surface.

false

1

https://media.tate.org.u…R/AR00058_10.jpg

1882

paper unique graphite acrylic paint

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DIRTY BABY

1,977

ARTIST ROOMS Tate and National Galleries of Scotland

1977

CLEARED

5

support: 572 × 724 mm frame: 730 × 872 × 38 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nIn this drawing, the words ‘DIRTY BABY’ stand out in large grey capital letters against a black ground. Ruscha created the words by carefully drawing and contouring individual letters rather than by using stencils, making this work unique within his group of ‘catch-phrase’ drawings dating from the late 1970s in ARTIST ROOMS (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-i-plead-insanity-because-im-just-crazy-about-that-little-girl-ar00053\" title=\"View the details of this artwork\">AR00053</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-hollywood-tantrum-ar00059\" title=\"View the details of this artwork\">AR00059</a>). Centrally aligned on the page, the outlines of the letters are slightly irregular, as if each one had been cut by hand from an undulating piece of paper and placed against a matte background (Marshall 2003, p.162). Each letter was drawn on the page in graphite, before black acrylic emulsion was painted around them, covering the entire background. This layer of emulsion is thick and impenetrable, with no visible brushstrokes. The drawing’s dense background is balanced by the lightness of Ruscha’s touch within the lettering. Black pastel is applied in smudges to create rippling shadows inside the letters, making them a patchy, smoky grey. The letters therefore appear to be ‘dirty’ like the ‘baby’ of the title. The slight illusion of three-dimensionality is the result of the artist’s precise draughtsmanship which paradoxically leaves almost no trace of his hand. This work is reminiscent of Ruscha’s ‘cut paper’ single word drawings in gunpowder produced in the 1960s (Richards 2008, pp.44–5), which similarly evoke the historical technique of trompe l’oeil, literally ‘to trick the eye’, with skilled shading, light effects and the conjuring of three-dimensions from a flat paper surface.\nRuscha worked as a layout artist at a Los Angeles advertising agency after graduating from the Chouinard Art Institute in 1960, becoming the production designer for the influential Artforum magazine during 1965–9, under the pseudonym Eddie Russia. As the writer Mary Richards notes of works such as DIRTY BABY, ‘Legible and authoritative like painted signs, these statements look bold and factual even when the phrases are kooky’ (ibid., p.71). This intentional mixing of visual authority with verbal jokiness is a key characteristic of the ‘catch-phrase’ drawings. These works build on Ruscha’s west coast pop art style of the early 1960s which established his reputation, replacing the slick visual representations of everyday objects and LA architecture (for example, Standard Study #3 1963, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-standard-study-3-ar00050\" title=\"View the details of this artwork\">AR00050</a>) with a precise focus on the imaginative potential of language, while retaining the artist’s trademark playful irony. The critic Dave Hickey has observed of these textual snippets: ‘Like the drawings themselves, these words are at once objects and ideas.’ (Hickey 1998, p.33.) By maintaining a duality of material and concept, Ruscha’s words both engage with and escape concrete signification, constantly toying with the absurdity of language.\nUnlike the impersonal, style-free uniformity of text in such drawings as MAD SCIENTIST 1975 (Tate AR00053) which aped efficient graphic design, in DIRTY BABY the appearance of the two words is given the intense care and attention seen in movie title designs from the golden age of Hollywood. In the 1930s and 1940s, film titles presented audiences with elaborate hand-drawn lettering and fonts, the style of which would visually anticipate the mood of the picture to follow. Likewise, the letters of DIRTY BABY correspond to the potentially sexual meaning of the two-word phrase in their ‘dirty’ appearance, reinforcing the phrase’s status as slang or vernacular. The anachronistic reference to the cinema of forty years earlier underscores Ruscha’s deep entanglement with the myth and allure of Hollywood and its past, as well as its role in the development of language and social mores. The artist’s particular interest in the role of text in film is also seen in his ongoing series from the 1990s and 2000s that depicts the phrase ‘The End’ (for example, The End #1 1993, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-the-end-1-t07512\" title=\"View the details of this artwork\">T07512</a>) as if seen on the film screen. These works have a similarly outmoded filmic resonance, with the use of Gothic style fonts and marks approximating scratches on the film stock: another marker of age and deterioration.\nWriting about Ruscha’s drawings, including DIRTY BABY, the curator Margit Rowell notes: ‘The word “narrative” seems appropriate here, in that these phrases, compared with single generic words, are more charged with content. They reflect the social context in which Ruscha’s generation came of age. They ring of the youth culture of the fifties and sixties, of its sexuality.’ (Rowell and Butler 2004, p.21.) Ruscha’s drawing is deeply suggestive in its combination of sexual connotations, narrative overtones and the sweep of cinematic history, coupled with the evocation of danger through the use of the colour black.\n\nFurther reading\n Dave Hickey, ‘I Gotta Use Words When I Talk to You. Ed Ruscha’s Drawings’ in Ed Ruscha: New Paintings and a Retrospective of the Works on Paper, exhibition catalogue, Anthony d’Offay Gallery, London 1998, pp.33–7, repr. p.39. Richard D. Marshall, Ed Ruscha, London and New York 2003, p.162, repr. p.174. Margit Rowell and Cornelia Butler, Cotton Puffs, Q-tips, Smoke and Mirrors: the Drawings of Ed Ruscha, exhibition catalogue, Whitney Museum of American Art, New York 2004, p.21, repr. p.183. Mary Richards, Ed Ruscha, London 2008.\nStephanie Straine March 2010\n</div>\n", "display_name": "Summary", "publication_date": "2012-08-15T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "During the mid 1970s, Ruscha made a series of drawings in pastel using pithy phrases against a field of a single colour. The sentences and phrases evoke American vernacular and slang, draw attention to a particular experience of the artist, or recall the excesses of Hollywood culture. Some of these works referenced lyrics from pop music while others were phrases that the artist made up. ‘Dirty Baby’ may be a line from a song or a movie.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstraction", "inscriptions", "non-representational", "symbols and personifications", "text", "title of work" ]

null

false

166 185 445 1986

false

artwork

Pastel on paper

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3,424

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1,979

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HOLLYWOOD TANTRUM

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00059

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7023900 7014285 2001343 7007525 7012149

Edward Ruscha

1,979

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The large-scale text of this drawing’s two-word title occupies the central third of the paper, the word ‘HOLLYWOOD’ almost completely spanning its horizontal axis. The neat letters display the untouched white of the paper, surrounded by a purple pastel background. These letters were not outlined by hand but were positioned on the paper with preparatory pencil markings before acetate stencils, in the sans serif typeface, were laid on the paper. Once these inverse stencils were in place, masking off the letters, Ruscha covered the paper surface with the pastel background. A fixative was then applied to maintain the crisp division between text and background, before the acetate stencils were peeled back to reveal the bare paper surface of the individual letters. In his reliance upon the technical aids of graphic design, Ed Ruscha subverts the common understanding of drawing as a preparatory medium of creative skill and self-expression. However, in HOLLYWOOD TANTRUM, the precision of the stencil technique is undercut by the fluidity of the pale purple background against which the letters stand out clearly. This background reflects one of the artist’s key technical experiments of this period, namely the loose, haphazard application of organic materials (such as foodstuffs) in his works on paper, as in the portfolio Stains 1969 (Tate T12449).

false

1

https://media.tate.org.u…R/AR00059_10.jpg

1882

paper unique pastel

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HOLLYWOOD TANTRUM

1,979

ARTIST ROOMS Tate and National Galleries of Scotland

1979

CLEARED

5

support: 584 × 737 mm frame: 730 × 874 × 38 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThe large-scale text of this drawing’s two-word title occupies the central third of the paper, the word ‘HOLLYWOOD’ almost completely spanning its horizontal axis. The neat letters display the untouched white of the paper, surrounded by a purple pastel background. These letters were not outlined by hand but were positioned on the paper with preparatory pencil markings before acetate stencils, in the sans serif typeface, were laid on the paper. Once these inverse stencils were in place, masking off the letters, Ruscha covered the paper surface with the pastel background. A fixative was then applied to maintain the crisp division between text and background, before the acetate stencils were peeled back to reveal the bare paper surface of the individual letters. In his reliance upon the technical aids of graphic design, Ed Ruscha subverts the common understanding of drawing as a preparatory medium of creative skill and self-expression. However, in HOLLYWOOD TANTRUM, the precision of the stencil technique is undercut by the fluidity of the pale purple background against which the letters stand out clearly. This background reflects one of the artist’s key technical experiments of this period, namely the loose, haphazard application of organic materials (such as foodstuffs) in his works on paper, as in the portfolio Stains 1969 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-stains-t12449\" title=\"View the details of this artwork\">T12449</a>). \nThe pastel was applied with liquid and a brush, so that horizontal brushstrokes are visible across its surface. This transformation of a dry medium into a painterly wash confuses the boundaries of drawing and painting. The application is irregular: in some areas the white of the paper shows through, while in others the purple achieves a dense coverage. In the bottom right-hand corner the colour mutates into something closer to a dirty brown, which could be a watermark. Some fingerprints are visible on the pastel surface and flecks of colour have strayed into the drawing’s white border. It is freer in its handling than most of Ruscha’s drawings; indeed the pastel application is almost careless. This offers up a connection between the background style and the text itself, which refers to a person out of control. \nThe words ‘HOLLYWOOD TANTRUM’ suggest a petulant actor or actress causing a noisy and embarrassing scene. Based in Los Angeles since 1956, Ruscha befriended and collaborated with actors such as Dennis Hopper (1936–2010) from the beginning of his career. In the 1960s and 1970s the art scene in L.A. had many links – both personal and professional – to the city’s film industry, fostering a sense of creative interaction between the spheres of art and cinema (see Schwartz 2010, pp.65–115). The seductive yet morally compromising lure of Hollywood is a recurring theme for Ruscha, who has also depicted the industry’s icons and landmarks repeatedly in his work, such as the Hollywood sign in the drawing DEC. 30th 2005 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-dec-30th-ar00065\" title=\"View the details of this artwork\">AR00065</a>). \nRuscha worked as a layout artist at a Los Angeles advertising agency after graduating from the Chouinard Art Institute in 1960, becoming the production designer for the influential Artforum magazine during 1965–9, under the pseudonym Eddie Russia. As the writer Mary Richards notes of works such as HOLLYWOOD TANTRUM, ‘Legible and authoritative like painted signs, these statements look bold and factual even when the phrases are kooky’ (Richards 2008, p.71). This intentional mixing of visual authority with verbal jokiness is a key characteristic of the late 1970s group of ‘catch-phrase’ drawings by Ruscha in ARTIST ROOMS (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-i-plead-insanity-because-im-just-crazy-about-that-little-girl-ar00053\" title=\"View the details of this artwork\">AR00053</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-hollywood-tantrum-ar00059\" title=\"View the details of this artwork\">AR00059</a>). These works build on Ruscha’s west coast pop art style of the early 1960s which established his reputation, replacing the slick visual representations of everyday objects and LA architecture (for example, Standard Study #3 1963, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-standard-study-3-ar00050\" title=\"View the details of this artwork\">AR00050</a>) with a precise focus on the imaginative potential of language, while retaining the artist’s trademark playful irony.\nThe writer Neville Wakefield has considered Ruscha’s approach to language and its components, commenting: ‘Nouns, like Hollywood, are apt to take on the volatility of verbs. Reshaped as interruptions, rather than agents of communication, they refuse the fill-up of standard octane meaning. Crossing the lines of signification, Ruscha attenuates the spaces between images and words, between words and things, even as he collapses them.’ (Wakefield 1998, p.27.) The punchy textual energy of HOLLYWOOD TANTRUM toys with the popular fascination for that powerful place of cinematic dreams and the people who inhabit it. \n\nFurther reading\n Neville Wakefield, ‘Ed Ruscha: Material Fictions and Highway Codes’, in Ed Ruscha: New Paintings and a Retrospective of the Works on Paper, exhibition catalogue, Anthony d’Offay Gallery, London 1998, pp.23–31, repr. p.41. Mary Richards, Ed Ruscha, London 2008. Alexandra Schwartz, ‘Hollywood Signs’, in Ed Ruscha’s Los Angeles, Cambridge, Massachusetts and London 2010, pp.65–115. \nStephanie Straine March 2010\n</div>\n", "display_name": "Summary", "publication_date": "2012-07-03T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "During the mid 1970s, Ruscha made a series of drawings in pastel using pithy phrases against a field of colour. The sentences and phrases evoke American vernacular and slang, draw attention to a particular experience of the artist, or recall the excesses of Hollywood culture. This work brings to mind the cliché of the demanding Hollywood diva, and is one of numerous works which shows the artist’s ongoing concern with the culture of his adopted hometown of Los Angeles.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstraction", "cities, towns, villages (non-UK)", "colour", "inscriptions", "Los Angeles, Hollywood", "monochromatic", "non-representational", "places", "symbols and personifications", "text", "title of work" ]

null

false

225 166 12444 9663 185 445 1986

false

artwork

Acrylic paint on paper

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3,425

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1,991

<a href="https://www.tate.org.uk/art/artists/edward-ruscha-1882" aria-label="More by Edward Ruscha" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Edward Ruscha</a>

CROSSOVER DREAMS

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00060

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7023900 7014285 2001343 7007525 7012149

Edward Ruscha

1,991

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In this drawing the words ‘CROSSOVER DREAMS’ are stencilled on a large sheet of museum board of elongated landscape proportions. The letters were outlined on the paper with preparatory pencil markings using a font template, before stencils were hand cut around the shape of the letters and temporarily affixed to the paper, in a process similar to that used in Ruscha’s ‘catch-phrase’ drawings, such as ARTISTS WHO DO BOOKS 1976 (Tate AR00056) and SMELLS LIKE BACK OF OLD HOT RADIO 1976 (Tate AR00055). Once these inverse stencils were in place, the acrylic paint that forms the background of the drawing was applied by spray gun. Only after this painting process was complete were the stencils removed to reveal the bare surface of the white paper marking out the individual letters.

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https://media.tate.org.u…R/AR00060_10.jpg

1882

paper unique acrylic paint

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CROSSOVER DREAMS

1,991

ARTIST ROOMS Tate and National Galleries of Scotland

1991

CLEARED

5

support: 511 × 765 mm frame: 564 × 813 × 37 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nIn this drawing the words ‘CROSSOVER DREAMS’ are stencilled on a large sheet of museum board of elongated landscape proportions. The letters were outlined on the paper with preparatory pencil markings using a font template, before stencils were hand cut around the shape of the letters and temporarily affixed to the paper, in a process similar to that used in Ruscha’s ‘catch-phrase’ drawings, such as ARTISTS WHO DO BOOKS 1976 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-artists-who-do-books-ar00056\" title=\"View the details of this artwork\">AR00056</a>) and SMELLS LIKE BACK OF OLD HOT RADIO 1976 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-smells-like-back-of-old-hot-radio-ar00055\" title=\"View the details of this artwork\">AR00055</a>). Once these inverse stencils were in place, the acrylic paint that forms the background of the drawing was applied by spray gun. Only after this painting process was complete were the stencils removed to reveal the bare surface of the white paper marking out the individual letters.\nThe sprayed acrylic background takes the form of multiple, irregularly distributed circular patches of black paint, the spray gun having been directed close to the surface of the museum board to achieve the effect. The paint diffuses from these spots so that most of the drawing’s surface area is given a light grey coating, differentiating the background from the letters and the drawing’s margin, both of which are the original white colour of the museum board.\nThe text of the two-word title uses a slim line, capitalised sans serif font which is significantly different from the fonts and hand-drawn lettering Ruscha used in his paintings and drawings of words and phrases in the 1960s and 1970s (see HONK 1962, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-honk-ar00184\" title=\"View the details of this artwork\">AR00184</a> and MAD SCIENTIST 1975, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-mad-scientist-ar00051\" title=\"View the details of this artwork\">AR00051</a>). Ten years before the production of CROSSOVER DREAMS, in 1981, Ruscha designed his own typeface, which was to become a central component of his work, including this drawing. When asked in a 2009 interview what his favourite font was, the artist replied: \n\n<blockquote>One of my own invention, which I call ‘Boy Scout Utility Modern’. If the telephone company was having a picnic and asked one of their employees to design a poster, this font is what he’d come up with. There are no curves to the letters – they’re all straight lines – and I’ve been using it for years. I guess it’s my font, because it’s become comfortable to me, and I can’t get beyond it – and don’t need to get beyond it. </blockquote>\n<blockquote>(Quoted in McKenna 2009, p.58.) </blockquote>\nThe ‘Boy Scout Utility Modern’ font is a means to introduce uniformity across a vast number of works in different media, creating a visual look that is unmistakably Ruscha’s, while also advancing the ambiguities of interpretation which characterise the texts themselves. Among the other works which make use of the font is the painting DAILY PLANET 2003 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-daily-planet-ar00048\" title=\"View the details of this artwork\">AR00048</a>).\nThe greyscale appearance of this drawing is evocative of old black and white movies – a longstanding interest of the artist’s which may be seen in his works that explore the fragile materiality of celluloid, such as ‘The End’ series (for example, The End #1 1993, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-the-end-1-t07512\" title=\"View the details of this artwork\">T07512</a>). The title and subject matter of CROSSOVER DREAMS alludes to a central and mythic desire of many Hollywood-based actors: to ‘crossover’ from television or theatre work into film roles, the cinema being viewed as the apex of an actor’s career – the route to fame, success and wealth. The labelling of these crossover aspirations as mere dreams points to the statistical unlikelihood of achieving such a goal. Ruscha’s wry look at his adopted hometown of Los Angeles exposes it as a place of failure and deferred ambition, littered with the broken dreams of actors and actresses who never quite made it. The sombre monochrome palette of the background provides a suitably melancholic tone for the drawing.\nThe artist has lived and worked in Los Angeles since moving to the city from Oklahoma at the age of eighteen, in 1956. Ruscha’s artistic identity is intimately entwined with Los Angeles and its film industry. His work takes inspiration from the sprawling west coast metropolis and its iconic role as producer of Hollywood myth and fantasy. ‘“If I’m influenced by the movies,” says Ruscha: “it’s from way down underneath, not just on the surface.”’ (Quoted in Rowell and Butler 2004, p.21.)\n\nFurther reading \n Margit Rowell and Cornelia Butler, Cotton Puffs, Q-tips, Smoke and Mirrors: the Drawings of Ed Ruscha, exhibition catalogue, Whitney Museum of American Art, New York 2004. Kristine McKenna, ‘Ed Ruscha in Conversation with Kristine McKenna’, in Ed Ruscha: Fifty Years of Painting, exhibition catalogue, Hayward Gallery, London 2009, pp.55–63.\nStephanie Straine April 2010\n</div>\n", "display_name": "Summary", "publication_date": "2012-07-03T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "abstraction", "blur", "diseases and conditions", "dreaming", "emotions, concepts and ideas", "formal qualities", "inscriptions", "non-representational", "people", "symbols and personifications", "text", "title of work" ]

null

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artwork

Acrylic paint on paper

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3,426

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1,996

<a href="https://www.tate.org.uk/art/artists/edward-ruscha-1882" aria-label="More by Edward Ruscha" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Edward Ruscha</a>

SOAPY SMITH

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00061

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Edward Ruscha

1,996

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This drawing comprises the title words in white set against a background of green acrylic spray paint on hand-cut, heavy-weight Strathmore paper. There are margins framing the drawing only at the top and bottom of the paper – the green background fully extends to its left and right edges. As with other works on paper by Ruscha in ARTIST ROOMS, for example his ‘catch-phrase’ drawings from the mid 1970s (Tate AR00053–AR00059), inverse stencils were used to demarcate the lettering of the title. The individual stencil letters were laid on the paper, protecting the areas underneath from the spray paint. Spelling out ‘SOAPY SMITH’ is a capitalised sans serif font which has been stretched vertically to extreme proportions, rendering the text very nearly illegible. It is impossible to decipher the words from most viewpoints, except when the viewer stands directly beneath the drawing, at its centre point, requiring it to be hung higher than eye level.

false

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https://media.tate.org.u…R/AR00061_10.jpg

1882

paper unique acrylic paint

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SOAPY SMITH

1,996

ARTIST ROOMS Tate and National Galleries of Scotland

1996

CLEARED

5

support: 366 × 290 mm frame: 517 × 436 × 37 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThis drawing comprises the title words in white set against a background of green acrylic spray paint on hand-cut, heavy-weight Strathmore paper. There are margins framing the drawing only at the top and bottom of the paper – the green background fully extends to its left and right edges. As with other works on paper by Ruscha in ARTIST ROOMS, for example his ‘catch-phrase’ drawings from the mid 1970s (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-i-plead-insanity-because-im-just-crazy-about-that-little-girl-ar00053\" title=\"View the details of this artwork\">AR00053</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-hollywood-tantrum-ar00059\" title=\"View the details of this artwork\">AR00059</a>), inverse stencils were used to demarcate the lettering of the title. The individual stencil letters were laid on the paper, protecting the areas underneath from the spray paint. Spelling out ‘SOAPY SMITH’ is a capitalised sans serif font which has been stretched vertically to extreme proportions, rendering the text very nearly illegible. It is impossible to decipher the words from most viewpoints, except when the viewer stands directly beneath the drawing, at its centre point, requiring it to be hung higher than eye level. \nThe alliterative phrase ‘Soapy Smith’ makes reference to a historical figure of the American West – Jefferson Randolph ‘Soapy Smith’ II, who was one of the most legendary con artists and gangsters of the nineteenth-century American Wild West. The artist has explained: ‘Soapy Smith was a con man who lived in Denver, Colorado, in the 1880s. He would incite crowds by saying: “Buy my soap and inside the wrapper might be a $20 bill.” Many people found $20 bills, but they were all part of the scam. This made him temporarily wealthy.’ (Quoted in d’Offay 2009, p.80.) \n\nSOAPY SMITH is related to the artist’s 1994–5 commission for a seventy-panel mural in the atrium of the new Central Denver Public Library, designed by the American architect Michael Graves. Ruscha’s mural is a 360-degree panorama, with the panel paintings hung in a frieze high above the space. Dispersed among silhouetted imagery of the historical American West are examples of text identical to that seen in SOAPY SMITH, including names of Native American leaders and local figures such as Soapy Smith. The artist has spoken about these elements of the mural commission, describing them as ‘anamorphic words (elongated, crunched-together text meant to be seen from a specific perspective)’. He goes on to explain: \n\n<blockquote>I was painting some of these anamorphic words at the same time that I did this. The idea [is] that these panels would be way up in the air and that you could walk almost underneath them. Then, you can position yourself to actually read those things, like ‘Baby Doe’, ‘Soapy Smith’, ‘Ute’ and ‘Ouray’. What did I call them? Stretch-outs or rubber bands or something like that. They also resembled, and I liked it for this, those sound patterns, and they also resembled dripping paint – if you put lots of paint on and watch it drip down in these vertical lines. So, the anamorphics, I always liked that. You can’t do that on a wall-mounted picture that you're looking directly at. You have to look way off at an angle. And you’re able to walk under and position yourself under those down here and you can actually read them. I’ve often wondered how many people have really discovered that. </blockquote>\n<blockquote>(Quoted in MacMillan 2007.)</blockquote>\nIn SOAPY SMITH, the spray gun application of green acrylic is concentrated in a very dark central band, vertically spanning the length of the drawing and positioned precisely between the two words of the title, providing a strong contrast for the white lettering. The green acrylic gradually fades out to become very pale at the left and right edges of the drawing. This colour gradation creates the impression that the paper surface is much narrower than in reality by focusing attention on the position at which the letters become legible. The verticality of the work offers a counterpoint to the horizontality of Ruscha’s wider painting and drawing oeuvre, in which works often mimic the widescreen proportions of CinemaScope or other film formats (for example, DEC. 30th, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-dec-30th-ar00065\" title=\"View the details of this artwork\">AR00065</a>). \n\nFurther reading \n Kyle MacMillan, ‘Ed Ruscha’s Murals in the Denver Central Library are a Panorama of the American West’, Denver Post, 28 January 2007, <a href=\"http://www.denverpost.com/art/ci_5087522\">http://www.denverpost.com/art/ci_5087522</a>, accessed 7 May 2010. Anthony d’Offay and others, ‘Me, You, Us: Anthony d’Offay and others on ARTIST ROOMS’, TATE ETC., issue 16, Summer 2009, pp.74–81. \nEd Ruscha: Fifty Years of Painting, exhibition catalogue, Hayward Gallery, London 2009. \nStephanie Straine May 2010\n</div>\n", "display_name": "Summary", "publication_date": "2012-07-03T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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null

false

225 185 445 6741

false

artwork

Acrylic paint and graphite on lithograph on paper

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3,427

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1,996

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RED ROOSTER

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00062

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7023900 7014285 2001343 7007525 7012149

Edward Ruscha

1,996

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RED ROOSTER combines a spray-painted stencil image of a rooster with a lithographic print. The lithograph has been printed right to the edge of the large landscape-oriented sheet of paper, and depicts in yellow and brown inks a row of four wooden floorboards viewed from a direct downward-looking perspective. The floorboards, with their precise detailing of knots and grain marks, are highlighted by what appears to be the shadow of a window pane cast onto the floor at an oblique angle, giving the impression of a light-filled room on a sunny day. Lithography is a traditional printmaking technique based on the immiscibility of grease and water, two components which establish the drawn and non-drawn areas of the print, usually transferred from a porous stone surface onto which the image has been drawn using a greasy crayon stick. A colour lithograph such as RED ROOSTER is achieved through the printing of at least four stones: one for each of the separate coloured inks of which this image is comprised. Each stone adds a further level of detail and definition to the trompe l’oeil wooden floorboards. However, this technically-accomplished verisimilitude is undermined by the second layer of the image.

false

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1882

paper unique acrylic paint graphite lithograph

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RED ROOSTER

1,996

ARTIST ROOMS Tate and National Galleries of Scotland

1996

CLEARED

5

support: 540 × 711 mm frame: 730 × 870 × 36 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nRED ROOSTER combines a spray-painted stencil image of a rooster with a lithographic print. The lithograph has been printed right to the edge of the large landscape-oriented sheet of paper, and depicts in yellow and brown inks a row of four wooden floorboards viewed from a direct downward-looking perspective. The floorboards, with their precise detailing of knots and grain marks, are highlighted by what appears to be the shadow of a window pane cast onto the floor at an oblique angle, giving the impression of a light-filled room on a sunny day. Lithography is a traditional printmaking technique based on the immiscibility of grease and water, two components which establish the drawn and non-drawn areas of the print, usually transferred from a porous stone surface onto which the image has been drawn using a greasy crayon stick. A colour lithograph such as RED ROOSTER is achieved through the printing of at least four stones: one for each of the separate coloured inks of which this image is comprised. Each stone adds a further level of detail and definition to the trompe l’oeil wooden floorboards. However, this technically-accomplished verisimilitude is undermined by the second layer of the image. \nOverlaid directly on top of the lithographic flooring is the stencilled image, in red acrylic paint, of a rooster in silhouette profile. The rooster is outlined faintly in pencil, a wavering hand-drawn line only visible at close range. These pencil markings were the guideline from which a paper stencil was cut, and then temporarily placed over the lithographic print while the red acrylic spray paint was applied. The loose and hazy coverage of the red paint contradicts the usually crisp stencilling process to appear more like weathered graffiti. In its flat and frontal presentation, the rooster subverts the careful effects of space and realism which the floorboards suggest. \n\nRED ROOSTER has visual parallels with a number of other works by the artist. In contrast to the widely-held view of Ruscha as an artist concerned solely with representations of text, be it single words, sentences or catch-phrases, he has in fact produced many works that eschew text altogether to focus on the graphic potential of various representational codes. The artist has stated that: ‘The idea of pure conceptualism puzzled me because I felt like it was impossible to make a statement with a work of art that didn’t have something to do with the visual.’ (Ruscha and Schwartz, p.373.) The screenprint “L.C.” 1997 (Tate L02359), similarly depicts the texture and linear contours of wood grain. The image of the rooster has also made infrequent but notable appearances in earlier works, such as Rooster 1988 (reproduced Tallman, p.205), an aquatint etching in soft grisaille tones of a silhouetted rooster throwing its head back and crowing. As Susan Tallman writes of Ruscha’s cinematic series of silhouetted works from the 1980s and 1990s, ‘tee-pees, picket fences, lawn jockeys, roosters, and other filmic emblems of Americana are invested with both corny nostalgia and quixotic majesty’ (Tallman 1996, p.205). \nThe two processes used to make RED ROOSTER create an image that is simultaneously printed, drawn and painted. The two layers of visual information are presented as a contradictory and witty juxtaposition. The lithograph hints at three-dimensionality and ‘real’ space with the slanting shadows of the window panes, while the rooster references advertising signage, brand icons and cartoon imagery, floating untethered to the space depicted behind it. Ruscha’s layering of multiple processes confuses the distinction between handmade and reprographic techniques, an impulse which can be seen to inform much of his wider body of work. As the curator Cornelia Butler has noted, Ruscha’s approach disrupts the fine art understanding of drawing as expressive mark-making, by employing the ‘cool masquerade of graphic design’ to challenge the received notion of drawing as an articulation of the artist’s thought processes and technical skill (Butler and Rowell 2004, p.28).\n\nFurther reading \n Susan Tallman, The Contemporary Print from Pre-Pop to Postmodern, London 1996. Edward Ruscha and Alexandra Schwartz (eds.), Leave Any Information at the Signal: Writings, Interviews, Bits, Pages, Cambridge, Massachusetts and London 2002. Cornelia Butler and Margit Rowell, Cotton Puffs, Q-tips, Smoke and Mirrors: the Drawings of Ed Ruscha, exhibition catalogue, Whitney Museum of American Art, New York 2004. \nStephanie Straine May 2010\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-10T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "animals: birds", "architecture", "cockerel", "colour", "emotions, concepts and ideas", "features", "floor", "formal qualities", "natural phenomena", "objects", "shadow", "tools and machinery", "window", "wood" ]

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HOPE

2,008

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00063

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Edward Ruscha

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The visual appearance of this work is in tension with the meaning and associations of its title. Black and blue paint, applied with a spray gun, seems to be in the process of obliterating the word ‘HOPE’. The effect of the paint particles across the paper surface is reminiscent of dirt on a vehicle or even blood spatter from a gunshot wound. HOPE’s large-scale and horizontal format relate it to advertising billboards, a longstanding visual interest of Ruscha’s.Gallery label, July 2019

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HOPE

1,998

ARTIST ROOMS Tate and National Galleries of Scotland

1998

CLEARED

5

support: 1016 × 1524 mm frame: 1085 × 1590 × 50 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nHOPE is a large work on white museum board made using black and blue acrylic paints sprayed over stencils that spell out the title word. The lettering is in a bold, capitalised serif font that appears horizontally stretched along the central axis, creating squat letter shapes that together span the width of the paper. After positioning the individual letter stencils on the paper, thus masking its blank surface, acrylic paint was applied using a spray gun, covering the paper in a mist of blue and black. The stencils were then removed, revealing the shape of the letters as bare paper, which were then covered by a second spray of paint. This built up an irregular coating, the pristine surface of the letters overlaid with paint, their crisp outlines disappearing, particularly with the final letter, ‘E’, which is almost engulfed completely by an area of dense black paint. By working with a spray gun and graphic stencils, the drawing has no immediate relationship to the artist’s hand. As the curator Cornelia Butler has noted, Ruscha’s approach disrupts the fine art understanding of drawing as expressive mark-making, by employing the ‘cool masquerade of graphic design’ to challenge the received notion of drawing as an articulation of the artist’s thought processes and technical skill (Rowell and Butler 2004, p.28).\nThe visual appearance of the drawing is in stark contrast to the meaning and associations of its four-letter title. Saturating the white support to an almost wholly opaque coverage at the bottom right corner of the image, the black and blue spray paint has a menacing feel. The splatter effect of the paint particles radiated across the paper surface is reminiscent of blood splatter from a gunshot wound – a visual motif from popular culture that is not made explicit, but rather seems designed to disrupt any literal interpretation of the title word. Additionally, the spray paint style could be read as a wry comment on abstract expressionist painting and its ‘all-over technique’, a mythologised, quasi-spiritual approach to painting embodied by the artist Jackson Pollock (1912–56), which is visually similar to the effect Ruscha achieves through the commercial spray gun. \nThe religious connotations of the word ‘hope’ link this work to the artist’s earlier Miracle series, including Miracle #64 1975 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-miracle-64-ar00052\" title=\"View the details of this artwork\">AR00052</a>), an atmospheric pastel drawing of a beam of light penetrating a darkened space, which makes reference to Ruscha’s Catholic background and the ritual and mysticism of the Church. In HOPE, the spray paint threatens to obliterate parts of the carefully stencilled letters, suggesting a challenge to any notion of ‘hope’, religious or otherwise. \nThe word ‘hope’ has appeared in other works by Ruscha. Four paintings – three from 1972–3 and one from 1992 – share this title, each depicting the word itself as the sole subject matter, using varying fonts, designs and colour schemes. The curator Sylvia Wolf raised an important point regarding the artist’s deployment of words in and as the visual field, writing: ‘Ruscha has said that “a lot of the juice in my work has to do with abstraction.” Taking words out of context is a form of abstraction, as is isolating elements from their usual surroundings.’ (Wolf 2004, p.165.) The notion that words can be abstract entities, freed from a prescribed place within a textual or cultural context, reminds the viewer that the meaning of the drawing can never be fully comprehended. \nThe large scale and horizontal format of HOPE relate it to a longstanding pictorial interest of the artist: the advertising billboard. The format of the billboard entered Ruscha’s art in 1962 with the painting Large Trademark with Eight Spotlights (Whitney Museum of American Art, New York), which mimics the scale and visual boldness of advertising signage. As the curator Margit Rowell has noted: ‘The billboard, by design, emphasizes words. It suggests that we read and comprehend text more automatically and quickly than we see images. When present, images are secondary, a footnote or a backdrop.’ (Rowell and Butler 2004, p.20.) This is confirmed by the insistence of the word ‘hope’ in this drawing: resisting the maelstrom of paint particles, it remains a persistent, ambiguous presence. \n\nFurther reading\n Margit Rowell and Cornelia Butler, Cotton Puffs, Q-tips, Smoke and Mirrors: the Drawings of Ed Ruscha, exhibition catalogue, Whitney Museum of American Art, New York 2004. Sylvia Wolf, Ed Ruscha and Photography, exhibition catalogue, Whitney Museum of American Art, New York 2004. Mary Richards, Ed Ruscha, London 2008.\nStephanie Straine March 2010\n</div>\n", "display_name": "Summary", "publication_date": "2012-07-03T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThe visual appearance of this work is in tension with the meaning and associations of its title. Black and blue paint, applied with a spray gun, seems to be in the process of obliterating the word ‘HOPE’. 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31 19508 11716 166 185 445 1986

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2,003

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END 40

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00064

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7023900 7014285 2001343 7007525 7012149

Edward Ruscha

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The End #40 depicts two partial frames of a film strip at the closing credits of a motion picture, complete with celluloid scratches and the text ‘The End’ in duplicate, cropped at the top and bottom of the image. The drawing initially looks like a close-up representation of an actual piece of film; however, the sprocket perforations and soundtrack which run down a film strip’s edges are missing. The drawing therefore mimics film as it has been projected onto a cinema screen, arrested at an intermediate point between two frames so that the dividing film line is visible. The bright blue acrylic background undermines the drawing’s suggestion of celluloid; nonetheless its semi-transparent, light-filled coverage over the bright white paper does reference the forceful beam of a film projector illuminating dark cinematic space.

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THE END #40

2,003

ARTIST ROOMS Tate and National Galleries of Scotland

2003

CLEARED

5

support: 610 × 762 mm frame: 730 × 874 × 38 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nThe End #40 depicts two partial frames of a film strip at the closing credits of a motion picture, complete with celluloid scratches and the text ‘The End’ in duplicate, cropped at the top and bottom of the image. The drawing initially looks like a close-up representation of an actual piece of film; however, the sprocket perforations and soundtrack which run down a film strip’s edges are missing. The drawing therefore mimics film as it has been projected onto a cinema screen, arrested at an intermediate point between two frames so that the dividing film line is visible. The bright blue acrylic background undermines the drawing’s suggestion of celluloid; nonetheless its semi-transparent, light-filled coverage over the bright white paper does reference the forceful beam of a film projector illuminating dark cinematic space. \nThe two sets of lettering, the horizontal film line and the clusters of vertical scratches are all areas of negative space within the drawing, created by masking off against the blue acrylic spray paint, using inverse stencils to form and cover the neat serif letters and masking fluid for the irregular celluloid scratches. The inverse stencilling process is similar to that used by Ruscha in his earlier series of ‘catch-phrase’ drawings (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-i-plead-insanity-because-im-just-crazy-about-that-little-girl-ar00053\" title=\"View the details of this artwork\">AR00053</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-hollywood-tantrum-ar00059\" title=\"View the details of this artwork\">AR00059</a>). Masking fluid, a product used primarily with watercolours, was painted onto the paper with a brush, protecting the areas that it covered from being saturated in blue paint. It was then removed with a special eraser to reveal the lighter marks across the paper surface, much as the stencils are removed after the final coating of blue paint. The blue acrylic background has a darker, more intense coverage along the top and bottom edges of the drawing, allowing the text to stand out in far greater clarity. The stencils give a crisp lettering finish that contrasts with the looseness of the masking fluid application for the damaged film effects. There are also some marks of black paint along the left hand edge of the drawing – these look like intentional effects by the artist to further suggest the damaged and delicate nature of old celluloid film. \nRuscha has lived and worked in Los Angeles since moving to the city in 1956 at the age of eighteen. His artistic identity is intimately entwined with the city and its film industry, his work taking inspiration from the sprawling west coast metropolis and its role as producer of Hollywood myth and fantasy. Informed by the look and feel of film, The End #40 provokes an array of cinematic associations and memories. This drawing is related to a number of different paintings, prints and drawings that Ruscha executed during the 1990s and 2000s, all incorporating the text ‘The End’. The curator Ralph Rugoff’s description of Ruscha’s 1991 large-scale painting The End (The Museum of Modern Art, New York) confirms the close similarities between works in the series; it states that The End is: ‘one of a series of canvases that portray scratched and scarred end titles from old movies, pay[ing] tribute to the imminent obsolescence of film technology. Its split composition presents fragments of two successive film frames, featuring the title phrase in a Gothic typeface … the distressed surfaces of the film frames evoke the reality of material decay.’ (Rugoff 2009, pp.23–4.) The Old English typeface, similar to that used on the masthead of The New York Times, can also be seen in the two other ‘The End’ works in Tate (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-the-end-1-t07512\" title=\"View the details of this artwork\">T07512</a>) and ARTIST ROOMS (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-the-final-end-ar00596\" title=\"View the details of this artwork\">AR00596</a>). The End #40 is distinguished from these works by its thin, serif typeface, which is similarly old-fashioned in appearance. The artist’s interest in the role of text in film and the evocation of outmoded filmic visuals is also seen in his work on paper Dirty Baby 1977 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-dirty-baby-ar00058\" title=\"View the details of this artwork\">AR00058</a>), where the drawing of the two-word title is given the intense care and attention seen in the elaborate hand-drawn lettering and fonts of movie title designs from the golden age of Hollywood in the 1930s and 1940s. The writer and curator Alexandra Schwartz has noted that Ruscha was an enthusiastic moviegoer as a child in Oklahoma City, and that: ‘Upon arriving in Los Angeles in the late 1950s, he continued to frequent the cinema, his favorite being old Hollywood movies’; indeed, the artist confirms this fact, saying: ‘Old movies, because of their age, were appealing to me. The imagery that comes from it and the flaws and scratches all became part of my interest in the whole thing. They are moving pictures. It’s a profound medium, not unlike painting. Painting is all static but movies … they move.’ (Quoted in Schwartz 2010, p.92.) \nThe writer Mary Richards has also discussed the artist’s engagement with cinematic subject matter in ‘The End’ series, stating: ‘Just as Ruscha is interested in the “object” quality of words, these works show a fascination for the material aspects of cinema. The idea of “scratches on the film” recalls 1960s works by experimental film-makers such as Stan Brakhage and Bruce Conner, whose scratched, painted and collaged negatives created extraordinary visual effects.’ (Richards 2008, p.119.) Richards thus links Ruscha’s interest in the physical properties of film, a medium increasingly obsolete in the face of digital video and other movie-making technologies, to experimental film works contemporaneous with the very beginning of Ruscha’s career, when film was a flourishing medium of newly-discovered artistic potential. The theme of obsolescence also connects the ever more archaic medium of film with the inherently delicate and light-sensitive paper support of drawing. \n\nFurther reading \n Mary Richards, Ed Ruscha, London 2008. Ralph Rugoff, ‘Heavenly Noises’, in Ed Ruscha: Fifty Years of Painting, exhibition catalogue, Hayward Gallery, London 2009, pp.11–27. Alexandra Schwartz, ‘Hollywood Signs’, in Ed Ruscha’s Los Angeles, Cambridge, Massachusetts and London 2010, pp.65–115. \nStephanie Straine May 2010\n</div>\n", "display_name": "Summary", "publication_date": "2012-07-03T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "abstraction", "colour", "emotions, concepts and ideas", "formal qualities", "inscriptions", "non-representational", "symbols and personifications", "text", "title of work" ]

null

false

39635 166 185 445 1986

false

artwork

Acrylic paint on paper

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3,430

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2,005

<a href="https://www.tate.org.uk/art/artists/edward-ruscha-1882" aria-label="More by Edward Ruscha" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Edward Ruscha</a>

DEC 30th

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00065

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7023900 7014285 2001343 7007525 7012149

Edward Ruscha

2,005

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By using acrylic spray paints and a custom-made stencil, Ruscha has produced a drawing which has no immediate relationship to the ‘artist’s hand’. Drawing is conventionally understood as expressive mark-making that demonstrates an artist’s feeling and skill. Ruscha disrupts that idea. The work features the famous ‘Hollywood’ sign. Ruscha makes it even more iconic than it is in real life by perching it on a mountain top. (The real sign is half way up a hill). He has said: ‘The idea of Hollywood has lots of meanings and one – to me – is this image of something fake up here being held up with sticks’.Gallery label, July 2019

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https://media.tate.org.u…R/AR00065_10.jpg

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paper unique acrylic paint

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DEC. 30th

2,005

ARTIST ROOMS Tate and National Galleries of Scotland

2005

CLEARED

5

support: 1016 × 1524 mm frame: 1087 × 1589 × 50 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nDEC. 30th is a large work on white museum board created using acrylic spray paints and a custom-made stencil that forms a silhouette of the Hollywood sign perched on a hilltop. The image was created in two stages: firstly, fine black paint was sprayed over a stencil of the Hollywood sign on the lower part of the paper; then red and orange layers were sprayed to fill the upper part. This second paint coating also covers the stencilled sign image, leaving it blurry. The paint coverage is a fine mist of various sized paint particles, with some areas highly pigmented blends of red and yellow, evoking a sunset. Through this process, Ruscha produced a drawing which has no immediate relationship to the artist’s hand: both the paint application and the visual motif are mediated by the technical tools of the spray gun and the graphic stencil. As the curator Cornelia Butler has noted, Ruscha’s approach disrupts the fine art understanding of drawing as expressive mark-making, by employing the ‘cool masquerade of graphic design’ to challenge the received notion of drawing as an articulation of the artist’s thought processes and technical skill (Rowell and Butler 2004, p.28).\nThe dimensions of this work evoke the widescreen movie format, which elongates what is seen on screen, just as the sign’s lettering is stretched to a more elongated appearance. The sign is positioned at an oblique angle, as if the viewer is peering up at it, the final letters receding into the middle distance. Earlier in his career, Ruscha precisely duplicated the widescreen CinemaScope aspect ratio of 2.35:1 in the dimensions of certain canvases, such as the large painting Standard Station 1966 (reproduced in Richards 2008, p.24–5). The title, DEC. 30th, bears no obvious relationship to its subject matter, and perhaps refers to the particular day on which the drawing was executed. \nThe artist began to use the Hollywood sign in the late 1960s, in such works as the lithograph Hollywood 1969 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-hollywood-p07716\" title=\"View the details of this artwork\">P07716</a>). In the lithograph, the sign is much smaller, and recedes in the opposite direction – from right to left – to that of the sign in DEC. 30th. It is a motif that the artist has returned to repeatedly, from small prints to an actual billboard erected in Los Angeles, testing the limits of its reproducibility and resistance to reversal, enlargement and other types of visual experimentation. \nThe writer Mary Richards has discussed some of the characteristics of DEC. 30th and related works, commenting that: ‘Ruscha has even “Hollywoodised” the Hollywood sign, that universal symbol of the glitz and glamour of the movie industry, by placing the letters of the Los Angeles landmark on the crest of a mountain rather than picturing them in their actual location halfway up Mount Lee.’ (Richards 2008, p.114.) Ruscha’s reworking of the recognisable symbol creates a dramatic compositional structure with a dynamic diagonal plane, that focuses on the silhouette of the sign perched perilously on an imagined mountaintop. The iconic sign was erected in 1923 to promote a real estate development, and was originally the longer ‘Hollywoodland’. In 1949 the Hollywood Chamber of Commerce removed the ‘land’, and the sign was co-opted fully by the film industry as a landscape-defining monument to its myths and dreams. \nFilming a 1981 documentary on his work and its relationship to Los Angeles, the artist said of the iconic sign: ‘The idea of Hollywood has lots of meanings and one – to me – is this image of something fake up here being held up with sticks … I looked outside my window here and I saw the sign “Hollywood” and it became the subject matter for me. It only lasted for a while so the actual remnants of the sign are not even important to me.’ (Ruscha and Schwartz 2002, p.220.) Ruscha’s use of the sign as an image reveals the fragility of both its material structure and its mythic or symbolic content. \n\nFurther reading \n Edward Ruscha and Alexandra Schwartz (eds.), Leave Any Information at the Signal: Writings, Interviews, Bits, Pages, Cambridge, Massachusetts and London 2002. Margit Rowell and Cornelia Butler, Cotton Puffs, Q-tips, Smoke and Mirrors: the Drawings of Ed Ruscha, exhibition catalogue, Whitney Museum of American Art, New York 2004. Mary Richards, Ed Ruscha, London 2008.\nStephanie Straine March 2010\n</div>\n", "display_name": "Summary", "publication_date": "2012-07-03T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nBy using acrylic spray paints and a custom-made stencil, Ruscha has produced a drawing which has no immediate relationship to the ‘artist’s hand’. Drawing is conventionally understood as expressive mark-making that demonstrates an artist’s feeling and skill. Ruscha disrupts that idea. The work features the famous ‘Hollywood’ sign. Ruscha makes it even more iconic than it is in real life by perching it on a mountain top. (The real sign is half way up a hill). He has said: ‘The idea of Hollywood has lots of meanings and one – to me – is this image of something fake up here being held up with sticks’.\n</div>\n", "display_name": "Display caption", "publication_date": "2019-07-26T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "architecture", "cities, towns, villages (non-UK)", "countries and continents", "emotions, concepts and ideas", "formal qualities", "Los Angeles, Hollywood", "places", "signage", "silhouette", "townscapes / man-made features", "USA" ]

null

false

12444 5014 11845 1811

false

artwork

Ink on paper on canvas

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3,431

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1,996

<a href="https://www.tate.org.uk/art/artists/ellen-gallagher-9553" aria-label="More by Ellen Gallagher" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Ellen Gallagher</a>

Paper Cup

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00066

{ "id": 6, "meta": { "type": "art.Classification" } }

1002808 7007711 7012149

Ellen Gallagher

1,996

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Paper Cup is a large-scale, multi-layered work on canvas that combines geometric abstraction derived from a collage of lined paper segments, with hand-drawn representational elements. It is part of artist Ellen Gallagher’s first mature body of work from the mid-1990s. The artist covered the entire surface of the painting’s stretched cotton canvas support with eighty-four horizontal sheets of yellow writing paper, arranged in twelve rows of seven pieces each. In layering the canvas with these small sheets of paper, the artist introduced a degree of imperfection to the work, with variations in the size of individual sheets and areas of overlap producing an irregular grid that is not wholly rectilinear. The pieces of writing paper were glued when wet onto the canvas surface, which accounts for the wrinkled surface quality. This gridded paper collage is then overlaid with a repetitive, biomorphic design drawn by hand in blue ink, which at close range is revealed to reference a racist and outdated minstrelsy idea of blackface physiognomy: a miniscule pair of rubbery lips, repeated thousands of times and loosely following the lines of the paper.

false

1

https://media.tate.org.u…R/AR00066_10.jpg

9553

painting ink paper canvas

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Paper Cup

1,996

ARTIST ROOMS Tate and National Galleries of Scotland

1996

CLEARED

6

support: 2135 × 1830 × 41 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nPaper Cup is a large-scale, multi-layered work on canvas that combines geometric abstraction derived from a collage of lined paper segments, with hand-drawn representational elements. It is part of artist Ellen Gallagher’s first mature body of work from the mid-1990s. The artist covered the entire surface of the painting’s stretched cotton canvas support with eighty-four horizontal sheets of yellow writing paper, arranged in twelve rows of seven pieces each. In layering the canvas with these small sheets of paper, the artist introduced a degree of imperfection to the work, with variations in the size of individual sheets and areas of overlap producing an irregular grid that is not wholly rectilinear. The pieces of writing paper were glued when wet onto the canvas surface, which accounts for the wrinkled surface quality. This gridded paper collage is then overlaid with a repetitive, biomorphic design drawn by hand in blue ink, which at close range is revealed to reference a racist and outdated minstrelsy idea of blackface physiognomy: a miniscule pair of rubbery lips, repeated thousands of times and loosely following the lines of the paper. \nAt over two metres tall the painting creates an impact that is suggestive of the grandeur of mid-century American abstract expressionist and colour field paintings, while also setting up a juxtaposition of scale with the tiny individual ‘lips’ elements. The artist has commented on this issue of scale within her large, carefully mapped surfaces, explaining: \n\n<blockquote>The idea of the gigantic is not always about a map … The scale is also about a kind of focus and humiliation. As if you’re watching something that is too awful. There is an anti-spectacularity and humbleness in the labor of the work – it’s hard to feel as if you ever have a good day’s work as so little is achieved every day.</blockquote>\n<blockquote>(Quoted in Morgan 2001, p.23.) </blockquote>\nThe results of this time-consuming, humble work are the many pairs of ‘lips’. In places they are lopsided, drawn in double, blotted or stained with excess ink. They do not fill the picture plane. Towards the right side of the canvas edge the ink drawing trails off, resulting in an irregular blank space: a margin of two slim yellow triangles of blank writing paper. After laboriously inscribing this miniature parade of unsettling and grotesquely comic symbols in ink, Gallagher sealed the collaged painting with a coat of clear varnish, excess deposits of which are visible in the top right corner. \nThe artist has discussed a particular quality of the stationary papers she has used in works including Paper Cup, revealing that: \n\n<blockquote>The paper itself, it’s not archival. It’s archival in the sense of historical but it’s not a fine-art material. It will yellow and darken with time, so no matter what it resists me in that way. No matter how I may try to build it into <a href=\"javascript:MM_openBrWindow('../../education/glossary_pop.html%22 \\l %22form','pop','scrollbars=yes,width=360,height=200');void(0);\">forms</a>, or arc it, or cut it, it will darken and yellow, which I like. It has its own relationship to time. </blockquote>\n<blockquote>(Quoted in PBS Art:21, <a href=\"http://www.pbs.org/art21/artists/gallagher/clip1.html\">http://www.pbs.org/art21/artists/gallagher/clip1.html</a>, accessed 3 September 2010.) </blockquote>\nThis unavoidable process of material ageing emphasises the meditative temporal qualities that Gallagher builds into her delicately handmade paintings. The curator and writer Claire Doherty has considered the conceptual and material tensions of works such as Paper Cup, writing:\n\n<blockquote>Though Gallagher’s canvases are described as paintings, on closer inspection they reveal themselves as aggregations of materials. The ink, pencil and penmanship paper recall the process by which handwriting is learned. In this process the hand is literally trained to conform in order that communication may be scripted. The parallel lines act as the boundaries which contain language. Similarly the lines of this penmanship paper also resemble the staves of a musical score. </blockquote>\n<blockquote>(Doherty 1998, p.9.)</blockquote>\nBy creating a grid structure and working with a formal vocabulary that alludes to the geometry and seriality of 1960s minimalism when viewed from afar, Paper Cup cloaks its socio-political referents in the guise of art-historical reminiscences, only to subvert that safe heritage upon closer examination of the painting surface. The curator Roxana Marcoci has observed of this process of covertly embedding racial signifiers that: ‘By inserting these provocative snippets on grade-school paper, Gallagher turns the whitewashed Minimalist grid of artists such as Agnes Martin into a “prison house of race talk.”’ (Marcoci 2007, p.18.) Complicating the legacy of minimalism, Gallagher opens up its sublime abstraction to a powerful and unsavoury current of American history. \n\nFurther reading\n Claire Doherty, Ellen Gallagher, exhibition catalogue, Ikon Gallery, Birmingham 1998. Jessica Morgan (ed.), Ellen Gallagher, exhibition catalogue, Institute of Contemporary Art Boston 2001, reproduced p.59. Roxana Marcoci, Comic Abstraction: Image-Breaking, Image-Making, exhibition catalogue, The Museum of Modern Art, New York 2007. PBS Art:21, ‘Ellen Gallagher Interview: eXelento and DeLuxe’, <a href=\"http://www.pbs.org/art21/artists/gallagher/clip1.html\">http://www.pb.org/art21/artists/gallagher/clip1.html</a>, accessed 3 September 2010.\nStephanie Straine September 2010\n</div>\n", "display_name": "Summary", "publication_date": "2012-07-03T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "'Paper Cup' is part of Gallagher’s first mature body of work which explored layered and contradictory themes. Gallagher has created a loosely structured grid by lining up small pieces of writing paper in multiple rows, recalling the history of handwriting exercises. Closer inspection reveals each line to be carefully constructed from rows of bulbous shapes resembling the vowels a child must repeat when learning to write, though they are in fact a reference to the stereotypical lips of American blackface minstrels. From a distance this large work’s subtle geometry resembles an American minimalist painting, but closer inspection reveals not only a darker side of American history but references Gallagher’s own mixed-race origins.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstraction", "colour", "emotions, concepts and ideas", "formal qualities", "geometric", "non-representational", "race", "repetition", "social comment", "society", "texture" ]

null

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225 226 185 1171 9024 158 8577

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artwork

Oil paint and enamel on paper on canvas

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3,432

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1,998

<a href="https://www.tate.org.uk/art/artists/ellen-gallagher-9553" aria-label="More by Ellen Gallagher" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Ellen Gallagher</a>

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[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00067

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1002808 7007711 7012149

Ellen Gallagher

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Untitled 1998 by the American artist Ellen Gallagher is a large, mixed-media painting measuring over three metres in height by almost two and a half metres in width, that combines geometric abstraction, paper collage, and hand-drawn representational elements. It is part of a small group of imposing all-black paintings that were executed by the artist in 1998 as a direct response to the critical reception of her first mature body of work from the mid-1990s that included the work Paper Cup 1996 (Tate AR00066). For Untitled the artist covered the entire surface of the painting’s stretched and primed cotton canvas with squares of paper, followed by an additional layer of geometric paper shapes. This textured paper collage was then covered with many layers of black oil paint, built up to achieve a highly reflective sheen on the painting surface. This application of heavy black paint was followed by the incorporation of repetitive detailing, executed in silver enamel paint, which was laid on top of the raised paper shapes following narrow, angular forms. The writer and curator Claire Doherty has analysed the composition of this work and these structures in detail:

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https://media.tate.org.u…R/AR00067_10.jpg

9553

painting oil paint enamel paper canvas

[ { "artistRoomsTour": true, "dateText": "14 March 2009 – 8 November 2009", "endDate": "2009-11-08", "exhibitionLegs": [ { "dateText": "12 March 2009 – 8 November 2009", "endDate": "2009-11-08", "id": 4997, "startDate": "2009-03-12", "venueName": "Scottish National Gallery of Modern Art (Edinburgh, UK)", "venueWebsiteUrl": "http://www.nationalgalleries.org/" } ], "id": 4194, "startDate": "2009-03-14", "title": "ARTIST ROOMS Ellen Gallagher", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "1 May 2013 – 1 June 2014", "endDate": "2014-06-01", "exhibitionLegs": [ { "dateText": "1 May 2013 – 1 September 2013", "endDate": "2013-09-01", "id": 6599, "startDate": "2013-05-01", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" }, { "dateText": "27 September 2013 – 26 January 2014", "endDate": "2014-01-26", "id": 7946, "startDate": "2013-09-27", "venueName": "Sara Hildén Art Museum (Tampere, Finland)", "venueWebsiteUrl": null }, { "dateText": "27 February 2014 – 1 June 2014", "endDate": "2014-06-01", "id": 7944, "startDate": "2014-02-27", "venueName": "Haus der Kunst (Munich, Germany)", "venueWebsiteUrl": null } ], "id": 5385, "startDate": "2013-05-01", "title": "Ellen Gallagher", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "1 May 2013 – 13 July 2014", "endDate": "2014-07-13", "exhibitionLegs": [ { "dateText": "28 September 2013 – 26 January 2014", "endDate": "2014-01-26", "id": 8055, "startDate": "2013-09-28", "venueName": "Sara Hildén Art Museum (Tampere, Finland)", "venueWebsiteUrl": null }, { "dateText": "27 February 2014 – 13 July 2014", "endDate": "2014-07-13", "id": 8056, "startDate": "2014-02-27", "venueName": "Haus der Kunst (Munich, Germany)", "venueWebsiteUrl": null } ], "id": 6612, "startDate": "2013-05-01", "title": "Ellen Gallagher", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "19 November 2018 – 15 December 2019", "endDate": "2019-12-15", "exhibitionLegs": [ { "dateText": "19 November 2018 – 15 December 2019", "endDate": "2019-12-15", "id": 12640, "startDate": "2018-11-19", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 10422, "startDate": "2018-11-19", "title": "ARTIST ROOMS Ellen Gallagher", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "18 June 2021 – 30 August 2021", "endDate": "2021-08-30", "exhibitionLegs": [ { "dateText": "18 June 2021 – 30 August 2021", "endDate": "2021-08-30", "id": 13663, "startDate": "2021-06-18", "venueName": "IKON Gallery (Birmingham, UK)", "venueWebsiteUrl": "http://www.ikon-gallery.co.uk" } ], "id": 11273, "startDate": "2021-06-18", "title": "IKON in the 1990s", "type": "Loan-out" } ]

Untitled

1,998

ARTIST ROOMS Tate and National Galleries of Scotland

1998

CLEARED

6

Object: 51kg support: 3053 × 2444 × 38 mm Weight of object in case: 102kg

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nUntitled 1998 by the American artist Ellen Gallagher is a large, mixed-media painting measuring over three metres in height by almost two and a half metres in width, that combines geometric abstraction, paper collage, and hand-drawn representational elements. It is part of a small group of imposing all-black paintings that were executed by the artist in 1998 as a direct response to the critical reception of her first mature body of work from the mid-1990s that included the work Paper Cup 1996 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/gallagher-paper-cup-ar00066\" title=\"View the details of this artwork\">AR00066</a>). For Untitled the artist covered the entire surface of the painting’s stretched and primed cotton canvas with squares of paper, followed by an additional layer of geometric paper shapes. This textured paper collage was then covered with many layers of black oil paint, built up to achieve a highly reflective sheen on the painting surface. This application of heavy black paint was followed by the incorporation of repetitive detailing, executed in silver enamel paint, which was laid on top of the raised paper shapes following narrow, angular forms. The writer and curator Claire Doherty has analysed the composition of this work and these structures in detail: \n\n<blockquote>Sealed within the impenetrable blackness of this painting are six bow forms, built up to slight relief from several layers of gesso. The bow forms mutate from one another and grow out across the canvas insinuating a hidden heraldry. Upon this surface silver lips are printed and plotted, connecting forms into a musical score that evokes the disruptive cadences of blackface minstrelsy. Unlike other works, this painting’s unyielding surface deflects detailed investigation. The mechanism of reduction in the creation of the stereotype is parodied in the negation of individuality.</blockquote>\n<blockquote>(Doherty 1998, p.13.)</blockquote>\nSome of these silver ‘lips’ were hand-painted, while others were stencilled onto the painting surface, blurring as the wet enamel paint was overlaid in tight clusters. The motif of the bulbous and cartoon-like ‘lips’, referencing a racist and outdated idea of blackface physiognomy, is a device also used in Paper Cup, where the biomorphic, semi-abstract forms fill rows of penmanship paper that creates a minimalist grid through collage. The curator Roxana Marcoci has noted that: ‘Gallagher’s work disrupts the idea that race and identity are predetermined or fully fixed, and through parodic repetitions and inversions she reintroduces taboo aspects of history to question if core assumptions have changed.’ (Marcoci 2007, p.19.)\nThe density and complexity of the layered paint surface in Untitled creates an impact that is reminiscent of the grandeur and solemnity of the late series of black paintings by Ad Reinhardt (1913¿–1967), such as Abstract Painting No. 5 1962 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/reinhardt-abstract-painting-no-5-t01582\" title=\"View the details of this artwork\">T01582</a>), while the stretched canvas, at over three metres tall, sets up a juxtaposition of scale with the tiny individual ‘lips’ elements. The artist has commented on this issue of scale within her large, carefully mapped surfaces, explaining: ‘I wanted the paintings to be just larger than human scale. When you stand in front of one, you can’t quite see around it. That keeps you measuring the difference between distance and closeness, between information up close versus what you get when you stand back.’ (Quoted in Doherty 1998, p.23.)\nReturning to the artist’s desire to use Untitled and the wider series of black paintings as a turning point within her work, it is necessary to consider the conceptual pulse that the rich materiality in Gallagher’s painting technique purposefully obscures. In conversation with the curator Jessica Morgan, Gallagher discussed her own interpretation of the black paintings, explaining: \n\n<blockquote>I’m really interested in this idea of a black inscrutable. The black paintings were in a sense a reaction to how people were reading or misreading the work … I really see the black paintings as a kind of refusal. Even when reading them – if you stand in front of them they go blank and then if you stand at the side you see only a little. They are also about memory in Bebop. And Miles Davis’ omission of notes that leaves a ragged disembodied line.</blockquote>\n<blockquote>(Quoted in Morgan 2001, pp.26–7.)</blockquote>\n\nFurther reading\n Claire Doherty, Ellen Gallagher, exhibition catalogue, Ikon Gallery, Birmingham 1998, reproduced p.16. Jessica Morgan (ed.), Ellen Gallagher, exhibition catalogue, Institute of Contemporary Art Boston 2001. Roxana Marcoci, Comic Abstraction: Image-Breaking, Image-Making, exhibition catalogue, The Museum of Modern Art, New York 2007.\nStephanie Straine September 2010\n</div>\n", "display_name": "Summary", "publication_date": "2012-07-03T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "The American artist Ellen Gallagher created 'Untitled' as one of a series of large black paintings begun in 1998. Seven large geometric forms appear to float on the hard surface. But closer inspection reveals these shapes to be carefully constructed from identical silver lips lined up in rows, their exaggerated style recalling the vaudeville traditions of American blackface minstrelsy. The broad black surface could thereby be seen as a stand-in for the minstrel stage. In this and similar works Gallagher presents a stark contrast between image and meaning; the sleek surface and structured forms reference the purity of American abstract minimalism, while this simplicity is undercut by taboo subject matter relating to her African-American origins.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstraction", "geometric", "gestural", "monochromatic", "non-representational" ]

null

false

226 227 9663 185

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artwork

Steel panel, enamel on paper on 2 canvases, fabric, coal, 3 metal hooks and metal rod

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3,433

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1,960

<a href="https://www.tate.org.uk/art/artists/jannis-kounellis-1438" aria-label="More by Jannis Kounellis" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Jannis Kounellis</a>

2,008

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00068

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Jannis Kounellis

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Untitled 1960-98 is a large wall-mounted work by the artist Jannis Kounellis. The work is comprised of two stretched canvases hung near the top of a flat steel panel, a portion of which is painted with enamel. These canvases are covered in off-white paper and painted with black symbols. Over the canvases is a piece of raw-edged khaki tarpaulin, folded and attached to the top of the steel panel by two S-shaped meat hooks that grip the top edge. Between these two hooks, another large metal rod hangs down, with a third S-shaped meat hook at its lower end from which hangs a jute sack full of coal. This work contains numerous elements characteristic of Kounellis’s artistic vocabulary as well as the everyday materials used in arte povera, a label the curator Germano Celant applied to the practice of many artists working in Italy in the late 1960s, including Kounellis.

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relief steel panel enamel paper 2 canvases fabric coal 3 metal hooks rod

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Untitled

1,960

ARTIST ROOMS Tate and National Galleries of Scotland

1960–98

CLEARED

7

displayed: 2000 × 1800 × 460 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nUntitled 1960-98 is a large wall-mounted work by the artist Jannis Kounellis. The work is comprised of two stretched canvases hung near the top of a flat steel panel, a portion of which is painted with enamel. These canvases are covered in off-white paper and painted with black symbols. Over the canvases is a piece of raw-edged khaki tarpaulin, folded and attached to the top of the steel panel by two S-shaped meat hooks that grip the top edge. Between these two hooks, another large metal rod hangs down, with a third S-shaped meat hook at its lower end from which hangs a jute sack full of coal. This work contains numerous elements characteristic of Kounellis’s artistic vocabulary as well as the everyday materials used in arte povera, a label the curator Germano Celant applied to the practice of many artists working in Italy in the late 1960s, including Kounellis.\nCurator Dieter Roelstraete notes that Kounellis often refers to the metal sheets in his work as ‘sheets of paper’, suggesting that he considers the metal sheet to be a backdrop or support from which to build up the work, which is how it might be thought of here (Roelstraete 2002, p.16). The first elements attached to the sheet are the two canvases, which are painted with stencilled black letters and symbols. They are mostly hidden from view. The left-hand portrait-orientated canvas has three dashes and a ‘4’ stenciled in black that cannot be seen, but on the right-hand landscape-orientated canvas, the edges of a large letter ‘Z’ are just visible. These resemble the artist’s early alphabet paintings, such as Untitled 1960 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kounellis-untitled-ar00614\" title=\"View the details of this artwork\">AR00614</a>), in which the artist used cryptic combinations of symbols to create visual rhythm across the picture plane. The addition of these canvases, as well as their canvas overlay, gesture to the artist’s use of different materials throughout his career, with the hooks and coal not only gesturing to the everyday objects incorporated in many works associated with arte povera, but also the frequent use of elements in suspension as well as fire.\nIn a 2002 interview the artist reflected: ‘You know that I used burlap sacks in many of my works. Those sacks are tied to the idea of maritime commerce. You can find them in every Levantine harbor. But you find them in New York or in South America too, the whole world over.’ (Quoted in Mario Codognato and Mirta d’Argenzio (eds.), Echoes in the Darkness: Jannis Kounellis, Writings and interviews 1966–2002, London 2002, p.317.) The sack of coal in this work might also allude to trade and commerce as Kounellis suggests, recalling the artist’s place of birth, Piraeus, the busy port district of Athens. The khaki tarpaulin adds to this reading, suggesting military attire in an allusion to the movement of troops that takes place in ports. Though the artist left Greece to live in Rome at the age of twenty, the sights, smells and sensations of the busy seaport never left him, and resurface in this work. However, the juxtaposition of banal materials in this work also resists any straightforward biographical analysis, as art historian Stephen Bann notes, ‘Kounellis’s insistence on the use of the term “Untitled” … denotes among other things a determination not to foreclose interpretation with crude literary or anecdotal readings.’ (Stephen Bann, Jannis Kounellis, London 2003, p.54.)\n\nFurther reading\n Gloria Moure, Jannis Kounellis: Works, Writings 1985–2000, Barcelona 2001, reproduced p.198. Bruno Corà, Kounellis, exhibition catalogue, Centre per l’arte contemporanea Luigi Pecci, Prato 2001, reproduced p.51. Dieter Roelstraete, Kounellis, exhibition catalogue, Stedelijk Museum Voor Actuele Kunst, Gent 2002, reproduced p.168.\nRuth Burgon The University of Edinburgh November 2014\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n</div>\n", "display_name": "Summary", "publication_date": "2016-03-18T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "In the late 1960s Kounellis played a key role in the foundation of Arte Povera. Literally meaning ‘Poor Art’, this was an anti-elitist movement that promoted a new openness to artistic production characterised by the use of non-art materials. Here, steel panels and canvases create a framework from which a sack of coal is suspended. The tension between the supporting structure and weight of the hanging materials draws our attention towards the centre of the composition and the special properties of the coal. Conjuring up a sense of its mass, texture and distinctive aroma, Kounellis’s integration of this ordinary substance reflected Arte Povera’s ambitions to unite art with everyday, lived experience.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "cloth", "hook", "miscellaneous", "objects", "sack", "tools and machinery", "vessels and containers" ]

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Burlap and beans

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00069

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Untitled 1969 consists of seven burlap sacks lined up in an uneven row on the floor, against the wall. Each sack is filled with a different dried pulse or bean: chickpeas, coffee beans, green lentils, green peas, kidney beans, white beans and maize. The top of each sack is rolled back so that the contents can be seen. The sacks slump this way and that, some leaning against each other, some against the wall and some away from it.

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installation burlap beans

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Untitled

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ARTIST ROOMS Tate and National Galleries of Scotland

1969

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displayed: 470 × 1370 × 630 mm (Variable)

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ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nUntitled 1969 consists of seven burlap sacks lined up in an uneven row on the floor, against the wall. Each sack is filled with a different dried pulse or bean: chickpeas, coffee beans, green lentils, green peas, kidney beans, white beans and maize. The top of each sack is rolled back so that the contents can be seen. The sacks slump this way and that, some leaning against each other, some against the wall and some away from it.\nThe original version of this work was made for the exhibition Live in Your Head: When Attitudes Become Form (1969), curated by Harald Szeemann for the Kunsthalle Bern and the Institute of Contemporary Arts in London. Untitled 1969 was a replacement for the work that Jannis Kounellis had originally intended to show in Bern, which had been intercepted at customs on its way to the exhibition (Christov-Bakargiev 1999, p.112). In his inventiveness, Kounellis went out to buy foodstuffs, placing them in sacks to create Untitled 1969. In this original version of the work the contents of the sacks also included other foodstuffs such as potatoes and rice. Since the work is made of perishable materials, the sacks were replaced when the work was first shown at Tate Modern in 2009, and the pulses and beans are replaced for each new display.\nThe humble materials that make up this work are typical of arte povera, a term coined by the critic and curator Germano Celant to describe the work of many artists in Italy in the late 1960s, including Kounellis. By taking the materials of everyday life out of context and placing them in an art gallery, Kounellis invites the viewer to experience them on a material and sensory level. When the work was originally displayed in 1969 visitors could not only smell the aroma of the coffee beans but, reportedly, also took handfuls of grain and either threw them on the gallery floor or chewed them whilst walking around the exhibition.\nThe materials used in this work are part of Kounellis’s repertoire, with sacks appearing in other works such as Untitled 1960–98 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kounellis-untitled-ar00068\" title=\"View the details of this artwork\">AR00068</a>) and Untitled (Sack with Z) 2001 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kounellis-untitled-sack-with-z-ar00583\" title=\"View the details of this artwork\">AR00583</a>). In a 2002 interview the artist said,\n\n<blockquote>You know that I used burlap sacks in many of my works. Those sacks are tied to the idea of maritime commerce. You can find them in every Levantine harbor. But you find them in New York or in South America too, the whole world over. A ship and a labyrinth also belong to the same territory. That is the territory where the Magna Mater once reigned. A ship and a labyrinth, like a sack, are also containers. […] A sack is also something which contains something else. A ship, a labyrinth, a burlap sack are things which are grandiosely maternal. They are protective, they surround you and, therefore, possess a profound credibility. (Quoted in Codognato and d’Argenzio 2002, p.317.)</blockquote>\nSuch links with maritime commerce and the maternal might suggest Kounellis’s place of birth, Piraeus, the port of Athens. Though the artist left Greece to live in Rome at the age of twenty, the sights, smells and sensations of the busy seaport never left him, and resurface in this work. However, one should be wary of such biographical readings since, as art historian Stephen Bann notes, ‘Kounellis’s insistence on the use of the term ‘Untitled’ […] denotes among other things a determination not to foreclose interpretation with crude literary or anecdotal readings.’ (Bann 2003, p.54.)\n\nFurther reading\n Carolyn Christov-Bakargiev, Arte Povera, London 1999, p.112, reproduced p.112. Mario Codognato and Mirta d’Argenzio (eds.), Echoes in the Darkness: Jannis Kounellis, Writings and interviews 1966–2002, London 2002. Stephen Bann, Jannis Kounellis, London 2003, pp.60, 91, reproduced p.93.\nRuth Burgon The University of Edinburgh June 2014\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n</div>\n", "display_name": "Summary", "publication_date": "2016-03-17T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "beans", "corn", "drink, coffee", "emotions, concepts and ideas", "food and drink", "formal qualities", "found object / readymade", "lentils", "objects", "repetition", "rice", "sack", "vegetable, pea", "vegetable, potato", "vessels and containers" ]

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Glass, steel, coal and paraffin lamp

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<a href="https://www.tate.org.uk/art/artists/jannis-kounellis-1438" aria-label="More by Jannis Kounellis" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Jannis Kounellis</a>

Coal Sculpture with Wall Coloured Glass

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

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Coal Sculpture with Wall of Coloured Glass 1990–2005 is an installation made up of two constituent parts: a screen made of glass pieces and a coal store made of steel. The screen is comprised of a steel frame from which hangs a curtain of jagged glass lumps in many colours, threaded onto thirty-four vertical wires. Each wire holds about twenty to twenty-five pieces of glass. In front of the screen, on the left hand side, is a coal store made of rolled steel, in which there is a pile of black coal that spills out slightly onto the floor. Hanging above the pile of coal from a hooked steel rod is an unlit paraffin lamp. The lamp has a bulbous crystal glass lantern with a crenulated rim.

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installation glass steel coal paraffin lamp

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Coal Sculpture with Wall of Coloured Glass

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ARTIST ROOMS Tate and National Galleries of Scotland

1990–2005

CLEARED

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unconfirmed: 4250 × 1270 × 2550 mm (Variable)

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nCoal Sculpture with Wall of Coloured Glass 1990–2005 is an installation made up of two constituent parts: a screen made of glass pieces and a coal store made of steel. The screen is comprised of a steel frame from which hangs a curtain of jagged glass lumps in many colours, threaded onto thirty-four vertical wires. Each wire holds about twenty to twenty-five pieces of glass. In front of the screen, on the left hand side, is a coal store made of rolled steel, in which there is a pile of black coal that spills out slightly onto the floor. Hanging above the pile of coal from a hooked steel rod is an unlit paraffin lamp. The lamp has a bulbous crystal glass lantern with a crenulated rim.\nThis work has undergone multiple changes over its lifetime, in line with the fact that Kounellis considers none of his work to be entirely finished. It was originally two separate works: Untitled (Coal) or Coal Sculpture 1990 and Wall of Coloured Glass 2005. Kounellis first created the latter work for a group exhibition called ‘Visioni: 20 Artisti a Sant’Agostino’ in Bergamo, Italy, where he made it in situ. The two works were first displayed together for an exhibition at the Scottish National Gallery of Modern Art, Edinburgh in 2005–6 to form one new work (see Schneider 2007, p.204). The exact configuration of the work varies depending on the dimensions of the space in which it is installed. When it was shown at the Middleborough Institute of Modern Art (mima) in 2012 the installation included the addition of sixty-eight black and navy coats on wooden coat hangers, arranged in four rows of seventeen, so that they covered the entire wall behind the glass curtain. This was in order to create an illusion of depth, since the piece had to be installed close to the gallery wall (normally it would be installed further away). The colourful glass pieces stood out in front of the background of dark coats. The coats are not part of the work included in the ARTIST ROOMS collection.\nFor Kounellis the physical reality of the materials in his work is important. When, for example, he uses coal it is important that it is real and weighty, as he states: ‘A hundredweight of coal, not plastic painted like coal, not an abstract weight. A weight is what hides, its history, its morality. For the artist a hundredweight of coal is the moral history of an aesthetic.’ (Quoted in Gloria Moure, Jannis Kounellis: Works, Writings 1985–2000, Barcelona 2001, p.313.) It is important to Kounellis to use materials that are what they appear to be. He sees them as authentic and honest, and their presence thus contains moral authority. The coal and glass in this work share this integrity, with their juxtaposition bringing together darkness and light, blackness and colour, into one work.\nMany of the glass lumps in the installation appear to be natural, meaning that, like the coal, they have been formed over millennia by the heat and movements of the earth and later hewn from it. The process of mining is alluded to by the paraffin lamp – a vital piece of equipment for anyone working below ground. The coal store is also suggestive of heavy industry and this is important for this artist. Kounellis has stated that, ‘Iron and coal are the materials that best evoke the world of the industrial revolution, the origins of contemporary civilization … If I build a coal store, I mean to evoke that world, those sensations, and I try to do it in the most credible and recognizable way possible, nevertheless keeping within the bounds of specific dimensions.’ (Kounellis quoted in Codognato and d’Argenzio 2002, p.237.) In this way, the artist’s insistence on using actual coal and glass makes the labour of accessing the material present in the gallery. For art critic Alastair Sooke, writing about a work by Kounellis that contains many of the same elements as Coal Sculpture with Wall of Coloured Glass,\n\n<blockquote>the coats have a vivid anthropomorphic quality … they feel like stand-ins for anonymous factory workers bent and oppressed by the capitalist machine. Indeed, the whole piece conjures an atmosphere of fossil fuel-powered heavy industry. This is a memorial to 20th-century manufacture as well as a lamentation and a critique – recording the Martyrdom, as it were – of the everyman. (Alastair Sooke, ‘Jannis Kounellis at Ambika P3’, Daily Telegraph, 10 May 2010, <a href=\"http://www.telegraph.co.uk/culture/art/art-reviews/7706830/Jannis-Kounellis-at-Ambika-P3-review.html\">http://www.telegraph.co.uk/culture/art/art-reviews/7706830/Jannis-Kounellis-at-Ambika-P3-review.html</a>, accessed 29 October 2014.)</blockquote>\nLikewise, Coal Sculpture with Wall of Coloured Glass, could be read as a memorial, with its coal and glass representative of heavy industry and its paraffin lamp (or its coats) standing in for workers and coal miners.\n\nFurther reading\n Bruno Corà, Kounellis, exhibition catalogue, Centre per l’arte contemporanea Luigi Pecci, Prato 2001, (Untitled (Coal) reproduced p.148). Mario Codognato and Mirta d’Argenzio (eds.), Echoes in the Darkness: Jannis Kounellis, Writings and interviews 1966–2002, London 2002. Angela Schneider (ed.), Jannis Kounellis in the Neue Nationalgalerie, exhibition catalogue, Neue Nationalgalerie, Berlin 2007, reproduced p.204.\nRuth Burgon The University of Edinburgh November 2014\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n</div>\n", "display_name": "Summary", "publication_date": "2016-03-18T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "abstraction", "architecture", "coal", "colour", "emotions, concepts and ideas", "features", "fine arts and music", "formal qualities", "geometric", "glass", "heating and lighting", "light / lamp", "miscellaneous", "non-representational", "objects", "sculpture", "suspension", "wall" ]

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Bronze bells, wooden beams and rope

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Bells

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

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Bells 1993 is comprised of three wooden beams, three bronze bells and several lengths of rope. Depending on the dimensions of the space in which the work is installed the beams are stacked and either wedged between two walls of the gallery or between two upright supports, allowing them to rest at a roughly twenty degree angle in relation to the floor. The lower end of the beams rests on the floor, while at the higher end, each beam has a bell attached with a knotted rope, so that the three bells hang down in a loose arrangement. Each bell has a swag decoration on the outside and elaborate filigree patterning around the middle, while the inside is plain with a clapper hanging down from the centre.

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sculpture bronze bells wooden beams rope

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Bells

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ARTIST ROOMS Tate and National Galleries of Scotland

1993

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Overall display dimensions variable 2450 × 1650 × 955mm (approx when displayed at NGS)

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nBells 1993 is comprised of three wooden beams, three bronze bells and several lengths of rope. Depending on the dimensions of the space in which the work is installed the beams are stacked and either wedged between two walls of the gallery or between two upright supports, allowing them to rest at a roughly twenty degree angle in relation to the floor. The lower end of the beams rests on the floor, while at the higher end, each beam has a bell attached with a knotted rope, so that the three bells hang down in a loose arrangement. Each bell has a swag decoration on the outside and elaborate filigree patterning around the middle, while the inside is plain with a clapper hanging down from the centre.\nThis work was first displayed at the Palazzo Fabroni in Pistoia, Italy in 1993. The gallery shares a square with the city’s Cathedral of San Zeno, which was visible from the gallery windows. The hanging bells paralleled those in the cathedral’s bell tower, establishing a dialogue between the relatively poor materials of this piece and the rich surfaces of the Romanesque architecture. Although such site-specific associations are lost when the work is installed in different settings, ecclesiastical connotations are embedded in the material components of Bells.\nArt historian Stephen Bann has suggested that the weight and downward gravitational pull of Bells might be understood in reference to depictions of the Deposition of Christ, with the cumbersome quality of the wooden beams evoking images of Christ’s body falling heavily from the cross (Bann 2003, p.160). Bann has also suggested that Kounellis may have seen images of the church bells that fell violently from the tower of St Mary’s in Lübeck, Germany in 1942, although, unlike the intact bells in Kounellis’s work, the bells of St Mary’s were smashed beyond repair (Bann 2003, p.156). Yet like the shattered bells of St Mary’s, Kounellis’s bells are robbed of their function and silenced by being tethered to the beams. In this silence, which exists because of the inertia of the bells, lies a latent potential and the desire that they ‘may make music once again.’ (Bann 2003, p.158.) Indeed in reference to another work that includes bells, Kounellis has said that ‘the bells represent language, a magnified human voice – and the enthusiastic roar of liberation.’ (Quoted in Dieter Roelstraete, Kounellis, exhibition catalogue, Stedelijk Museum Voor Actuele Kunst, Gent 2002, p.22.)\nDespite the religious associations of this work, the artist has declared himself an atheist. For Kounellis Christian iconography is a necessary cultural inheritance from both Greece (his place of birth) and Italy (where he lives), as he states: ‘I make no reference to religion because I am an atheist, but I cite culture because it has come to me by way of religion.’ (Quoted in Bann 2003, p.185.) The artist has referred to works such as this, made of architectural fragments, as ‘the iconography of iconoclasm’ (quoted in McEvilley 1999, p.135). This suggests that while his works may engage with religious iconography and ecclesiastical traditions, Kounellis intended works such as Bells to question religious belief rather than to assert a statement of faith.\n\nFurther reading\n Thomas McEvilley, Sculpture in the Age of Doubt, New York 1999, pp.117–45. Gloria Moure, Jannis Kounellis: Works, Writings 1985–2000, Barcelona 2001, reproduced pp.218–19. Stephen Bann, Jannis Kounellis, London 2003, pp.156-8, reproduced p.157.\nGeorgina Bolton and Ruth Burgon The University of Edinburgh July 2014\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n</div>\n", "display_name": "Summary", "publication_date": "2016-03-17T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "First exhibited in a Palazzo in Italy, this sculpture was originally placed in a room overlooking a Romanesque cathedral. The arrangement of bells and wooden beams drew directly on the cathedral’s distinct architectural language and evokes Christian iconography. Although the bells are tilted at slight angles and appear as though about to chime, Kounellis has fixed them in place using tightly knotted ropes. Silenced, and suggesting a potent mix of weight and gravity, the bells bring to mind the anticipation and solemnity of religious ceremonies. Despite being an atheist, these spiritual symbols are central to Kounellis’s Mediterranean identity and hold important cultural significance for the artist.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "architecture", "beam", "Christianity", "features", "fine arts and music", "instrument, bell", "objects", "religion and belief", "religions", "universal religious imagery", "worship" ]

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Steel bedsprings, metal hook and paint on wall

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

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Untitled 1993 consists of two parts: a dandelion yellow square painted directly onto the gallery wall, and a brushed steel rectangular bed frame with tight, twisted springs. The yellow painting is over two metres square and sits thirty centimetres above the floor. The bedframe hangs by its top right-hand corner from a swivel hook placed a little above the painted square. As such it sits at an angle to the perpendicular lines of the yellow surface. The volume and weight of the bedframe contrast with the flatness of the painted surface.

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Untitled

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ARTIST ROOMS Tate and National Galleries of Scotland

1993

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object (bed base): 1890 × 790 × 40 mm object (hook): 210 mm displayed: 2670 × 2300 × 100 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nUntitled 1993 consists of two parts: a dandelion yellow square painted directly onto the gallery wall, and a brushed steel rectangular bed frame with tight, twisted springs. The yellow painting is over two metres square and sits thirty centimetres above the floor. The bedframe hangs by its top right-hand corner from a swivel hook placed a little above the painted square. As such it sits at an angle to the perpendicular lines of the yellow surface. The volume and weight of the bedframe contrast with the flatness of the painted surface.\nThe square is a repeated quotation in Kounellis’s work and the yellow square in particular can be seen in his earlier Manifesto for a Utopian Theatre 1973 (reproduced Moure 1990, p.115). That installation consisted of three elements: a canvas painted yellow, a sewing machine with a drawing of a female outline under the needle and a sheet of paper on which twenty-five black and white photographs are mounted. The utopianism referenced in the title of Manifesto for a Utopian Theatre has been seen by some critics as an important aspect of Kounellis’s practice. For example, art historian Thomas McEvilley has suggested that Kounellis’s frequent use of the square refers to one of the founding works of geometric abstraction, Kasimir Malevich’s Black Square of 1915 (McEvilley 1999, p.119). This seems an apt comparison, since Malevich’s Black Square has often been understood as poised between spiritual, transcendental and more materialist, literal meaning, and similarly, as we see in Untitled 1993, Kounellis’s utopianism seems tempered by an emphasis on the material properties of everyday things.\nIn her writing on Manifesto for a Utopian Theatre the curator Mary Jane Jacobs has sought to expand the list of referents in the work to evoke a broader range of natural and cultural associations: ‘More than its possible references to the square-formatted paintings of Malevich; the yellow of Van Gogh’s sunflowers, cornfields, and suns; the gold of the Byzantine world – yellow is the colour of disease, plague, and suffering.’ (Quoted in Moure 1990, p.171.) Such varied interpretations of the colour yellow are also possible in Untitled, as it becomes both the colour of transcendence and of the earthbound, with the stark bed frame standing both for the transcendental escape of dreaming and for institutional functionality.\nJannis Kounellis has been using bed frames, among other everyday materials, in his work since the 1960s. After moving to Rome in 1956, he became associated with a loose group of artists working with humble materials in response to the economic downturn in Italy in the post-war period. The art critic Germano Celant coined the term arte povera to describe this work in 1967. In works from this period, Kounellis experimented with arrangements of wool and fuel on bedframes, but they have since reappeared numerous times in the artist’s practice. Sometimes they are used like a conventional picture frame, to highlight a particular element in a larger installation, or as a supportive framework for another material. The bedframes also function as a cipher for the human body, allowing the viewer to project him- or herself into the space of the work. This interest in the anthropomorphic is also evident in the artist’s use of doors and tables (see Tate AL00186, for example).\n\nUntitled 1993 also seems to visualise Kounellis’s own artistic progression. With its combination of painted surface and bedframe, the work gestures to the artist’s shift from two dimensional painting in works such as Untitled 1960 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/warhol-self-portrait-with-fright-wig-ar00314\" title=\"View the details of this artwork\">AR00314</a>), to later sculptural and installation work, referencing techniques that have become central to his career.\n\nFurther reading\n Gloria Moure, Kounellis, New York 1990. Thomas McEvilley, Sculpture in the Age of Doubt, New York 1999, pp.117–45. Mario Codognato and Mirta d’Argenzio (eds.), Echoes in the Darkness: Jannis Kounellis, Writings and Interviews 1966–2002, London 2002.\nGeorgina Bolton and Ruth Burgon The University of Edinburgh August 2014\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n</div>\n", "display_name": "Summary", "publication_date": "2016-03-17T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "In the late 1960s Kounellis experimented with arrangements of wool and burning fuel on simple bed-frames. These three-dimensional pieces represented his use of everyday objects to create artworks, imbued with a direct and immediate power. In this more recent work, Kounellis utilises a similar steel bed-frame. Suspended precariously from a gallery wall, the metal framework contrasts with the painted backdrop. The volume and weight of the object is countered by the flatness of the surface. Kounellis seems to visualise his own artistic progression from two-dimensional painting to the employment of unconventional sculptural forms by referencing techniques that have become central to his career.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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Steel, carpets, 2 hooks, coat and hat

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

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This installation consists of over thirty crucifixes made out of rusty steel girders bolted together, with over one hundred Turkish carpets and kilims (woven rugs) covering the floor beneath. A hat and coat also hang at one corner of the room. Each crucifix sits on its side at a thirty-degree angle to the floor, resting on the tip of its longer arm, the tip of one of its shorter arms and a third supporting girder jutting out from the back. The crosses are arranged in two rows in an overlapping formation so that the whole installation resembles a complex and dense architectural construction. The rugs beneath the crosses are old, worn and multi-coloured, though dark red predominates. They form a large rectangle and overlap so that no area of floor is visible beneath the crosses. At one end of the structure two meat hooks hang from two holes in one of the girders. From these hooks are hung a grey herringbone tweed overcoat and a black moleskin trilby hat. The dimensions of the installation vary depending on the space available, but the work usually stretches to about twenty metres in length by seven or eight metres wide.

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Untitled

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ARTIST ROOMS Tate and National Galleries of Scotland

2004

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ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThis installation consists of over thirty crucifixes made out of rusty steel girders bolted together, with over one hundred Turkish carpets and kilims (woven rugs) covering the floor beneath. A hat and coat also hang at one corner of the room. Each crucifix sits on its side at a thirty-degree angle to the floor, resting on the tip of its longer arm, the tip of one of its shorter arms and a third supporting girder jutting out from the back. The crosses are arranged in two rows in an overlapping formation so that the whole installation resembles a complex and dense architectural construction. The rugs beneath the crosses are old, worn and multi-coloured, though dark red predominates. They form a large rectangle and overlap so that no area of floor is visible beneath the crosses. At one end of the structure two meat hooks hang from two holes in one of the girders. From these hooks are hung a grey herringbone tweed overcoat and a black moleskin trilby hat. The dimensions of the installation vary depending on the space available, but the work usually stretches to about twenty metres in length by seven or eight metres wide.\nThis work was originally created for the exhibition Jannis Kounellis held at Modern Art Oxford in 2004–5, where it was installed on the upper floor of the Gallery, taking up almost the entire space, with part of it projecting out through one of the doors. Kounellis had the crucifixes fabricated in Italy, which is also where he sourced the carpets.\nKounellis has described this work as ‘a clash of civilisations; a meeting of technology and spirituality’ (quoted in Cotter and Nairne 2004, p.6). This neatly captures some of the disparate references the work makes: the steel girders recall industry, construction, railway sidings and battle lines, while at the same time referencing the falling cross of Christ’s passion, or perhaps the Stations of the Cross, part of Western iconographic tradition. The Turkish carpets and kilims, on the other hand, suggest an Eastern perspective, recalling a range of factors from storytelling and exchange to homeliness and comfort. Whereas the steel girders are industrially made, the carpets are handcrafted, forming yet another opposition or ‘clash’ within the work. The curators of the exhibition at Modern Art Oxford, Suzanne Cotter and Andrew Nairne, also compared the structure to ‘the lines of a futurist painting’, with all the references to speed, industry and energy that such an association might suggest (Cotter and Nairne 2004, p.6).\nThe coat and hat have been a reoccurring motif in Kounellis’s work since the mid 1970s, and act here as a sort of signature. The vestments are dwarfed by the heavy metallic beams, adding a human scale to the work, but also suggesting the absence of the figure who might have left them behind.\nShortly after this work was shown at Modern Art Oxford it was on display in the sculpture court of Edinburgh College of Art as part of an exhibition of Kounellis’s work organised by the National Galleries of Scotland. It was acquired by ARTIST ROOMS in 2008 and has subsequently been seen in other spaces around the United Kingdom.\n\nFurther reading\n Suzanne Cotter and Andrew Nairne, Jannis Kounellis, exhibition catalogue, Modern Art Oxford, Oxford 2004, p.6, reproduced pp.49–56. Angela Schneider (ed.), Jannis Kounellis in the Neue Nationalgalerie, exhibition catalogue, Neue Nationalgalerie, Berlin 2007, reproduced p.189. Marc Scheps, Jannis Kounellis: XXII Stations on an Odyssey 1969–2010, Munich 2010, p.337, reproduced p.337.\nRuth Burgon The University of Edinburgh October 2014\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n</div>\n", "display_name": "Summary", "publication_date": "2016-03-18T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "Kounellis’s recent installations respond to the current cultural and political climate. Describing this piece as “a clash of civilisations; a meeting of technology and spirituality”, his organisation of rigid steel crucifixes upon traditionally woven Turkish carpets emphasises the contrast between industrially-made products and unique craftwork, Eastern traditions and Western ritual. While the rhythmic pattern of the textiles brings together these conflicting elements, a single tweed overcoat and trilby hat hang enigmatically at one end. Appearing like strangely dislocated fragments of a more coherent whole, Kounellis calls into question the position of the individual in relation to our wider society.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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Knife and Train

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Untitled (Knife and Train) 2002 is a wall-mounted work consisting of a portrait-orientated rectangular steel box containing five kitchen knives and two toy train engines. The knives are regularly spaced and arranged horizontally so that the base of each handle, on the right, and the tip of each blade, on the left, touch the edges. The sharp edge of the blade faces outwards, towards the viewer. The top two blades act as shelves for two 00 gauge toy train engines. The box is glass-fronted with a water-marked interior. From 1989 to 2005 Kounellis made a series of works produced in editions, described as multiples, in which he incorporated elements drawn from the vocabulary of his earlier practice. Untitled (Knife and Train) is one of these multiples, produced in an edition of twenty-five.

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Untitled (Knife and Train)

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ARTIST ROOMS Tate and National Galleries of Scotland

2002

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ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nUntitled (Knife and Train) 2002 is a wall-mounted work consisting of a portrait-orientated rectangular steel box containing five kitchen knives and two toy train engines. The knives are regularly spaced and arranged horizontally so that the base of each handle, on the right, and the tip of each blade, on the left, touch the edges. The sharp edge of the blade faces outwards, towards the viewer. The top two blades act as shelves for two 00 gauge toy train engines. The box is glass-fronted with a water-marked interior. From 1989 to 2005 Kounellis made a series of works produced in editions, described as multiples, in which he incorporated elements drawn from the vocabulary of his earlier practice. Untitled (Knife and Train) is one of these multiples, produced in an edition of twenty-five.\nKounellis (who, although Greek, sees himself as an Italian artist) had a boyhood fascination with trains, something he shared with the Greek-Italian artist Giorgio de Chirico (1888–1978). In his writings Kounellis has referred to ‘de Chirico’s little train that crosses the Piazza di Torino’, a motif that appears in many of the older artist’s paintings, such as The Uncertainty of the Poet 1913 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/de-chirico-the-uncertainty-of-the-poet-t04109\" title=\"View the details of this artwork\">T04109</a>). Like the combination of classical bust and modern train in de Chirico’s work, Kounellis’s Untitled (Knife and Train) brings together two seemingly antithetical objects, constructing an uncanny sensibility. Both the knife and train sustain multiple meanings: the former could suggest a domestic setting, a violent threat or the precariousness of balancing ‘on a knife’s edge’. The latter could stand in for a journey, high-speed travel or, given the objects’ small scale, childhood and play.\nThis work recalls several occasions in which Kounellis has used toy trains. In Untitled 1977, for example, the artist placed a track and a miniature electric train running around a column in the cloister of Santa Maria Novella in Florence. Kounellis repeated this gesture on a mass scale in an exhibition in a warehouse on Erie Street, Chicago, in 1986–7: the forty-two columns of the exhibition space were each affixed with a steel collar around which ran forty-two toy trains on tracks. These two contexts suggest different metaphorical associations. For curator Mary Jane Jacob, the Florentine train, ‘condemned to a Dantesque circle of eternal rotation’ in its ecclesiastical setting, ‘perhaps signified loss of the medieval and renaissance world’s faith in religion’s ability to ensure salvation’ (Jacob in Moure 1990, p.170). Although the train installation in Chicago was ‘both amusing and profound’ – referring to expansion, industry and mass production – it also represented an ‘ironic eulogy to an American dream of technological progress that failed to live out the century’ (Jacob in Moure 1990, p.170). In Untitled (Knife and Train) the trains seem to err on the side of the latter reading, their precarious positioning suggesting that industrial progress might not always offer a certain future.\n\nFurther reading\n Gloria Moure, Kounellis, New York 1990. Gloria Moure, Jannis Kounellis: Works, Writings 1985–2000, Barcelona 2001. Stephen Bann, Jannis Kounellis, London 2003.\nRuth Burgon University of Edinburgh January 2015\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n</div>\n", "display_name": "Summary", "publication_date": "2017-01-23T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

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Untitled 2005 is a wall-mounted glass-fronted rectangular steel box. The box is lined with a monochrome lithograph, overlaid by a central metal ‘V’ shape, the extremities of which touch the top and bottom of the box. The lithograph, printed on handmade white paper, features a black paint splash. The ‘V’ is made of two I-beams, welded together at the lower point and bolted in position to the back of the metal box. From 1989 to 2005 Kounellis made a series of works produced in editions, described as multiples, in which he incorporated elements drawn from the vocabulary of his earlier practice. Untitled 2005 is one of these multiples, and is number eleven of an edition of twenty-five.

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Untitled

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ARTIST ROOMS Tate and National Galleries of Scotland

2005

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object: 1001 × 709 × 157 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nUntitled 2005 is a wall-mounted glass-fronted rectangular steel box. The box is lined with a monochrome lithograph, overlaid by a central metal ‘V’ shape, the extremities of which touch the top and bottom of the box. The lithograph, printed on handmade white paper, features a black paint splash. The ‘V’ is made of two I-beams, welded together at the lower point and bolted in position to the back of the metal box. From 1989 to 2005 Kounellis made a series of works produced in editions, described as multiples, in which he incorporated elements drawn from the vocabulary of his earlier practice. Untitled 2005 is one of these multiples, and is number eleven of an edition of twenty-five.\nThe splattered paint in this work makes an implicit reference to the abstract expressionist painting style of Jackson Pollock, which, for Kounellis, represents an impassioned search for identity. He says:\n\n<blockquote>I love Jackson Pollock and Franz Kline. I love that generation, because it is an epic generation, a generation that built a space, or rather that invented American space, ample and broad, far from the painterly tonalities, a surface that, in the best of cases was lived with determination and radicalism. It is a generation that also eliminated the concept of the centre of painting. (Quoted in Bellini 2007, pp.112–13.)</blockquote>\nIn Untitled 2005 the splattered paint is an expressionistic gesture, reminding the viewer of the hand of the artist who created it, as with paintings by Pollock and Kline. Kounellis’s reference to this previous generation of Western male artists suggests that he sees himself inheriting something of their ‘epic’ approach to space and material. However, the fact that this work is one of an edition could undercut the idea of the unique expressive gesture, since the paint splatter is reproduced in each version of the work.\nThe ‘V’ symbol in Untitled 2005 might make reference to the hand gesture formed between the index and middle fingers, standing for victory or peace. It could also allude to Vulcan, the Roman god of fire, its welded joint referencing the association of the god with blacksmithing and metalwork. Kounellis obliquely references Greek and Roman mythology in much of his work, often as a gesture to his cultural inheritance as an Italian artist of Greek descent.\nIn recalling the mythic heroism of the male-dominated abstract expressionist generation and the tough masculine associations of the ‘V’ symbol, this work might be read as a statement of heroic masculinity. However, as with many of Kounellis’s works, it is untitled, meaning that such specific readings remain only speculative. As art historian Stephen Bann notes, ‘Kounellis’s insistence on the use of the term “Untitled” … denotes among other things a determination not to foreclose interpretation with crude literary or anecdotal readings’ (Bann 2003, p.54).\n\nFurther reading\n Stephen Bann, Jannis Kounellis, London 2003. Andrea Bellini, ‘Jannis Kounellis: Man and Myth’, Flash Art, no.40, March/April 2007, pp.112–15. \n Ruth Burgon University of Edinburgh April 2015\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n</div>\n", "display_name": "Summary", "publication_date": "2017-01-23T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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Mound Flowers

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

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1

https://media.tate.org.u…R/AR00076_10.jpg

2368

sculpture glass

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Mound of Flowers

1,991

ARTIST ROOMS Tate and National Galleries of Scotland

1991

CLEARED

8

displayed: 400 × 1135 × 945 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[]

[ "artifice", "emotions, concepts and ideas", "flower", "formal qualities", "humour", "leaf", "plants and flowers", "scale", "universal concepts" ]

null

false

3200 269 5443 448 72 17629 30

false

artwork

4 vacuum cleaners, perspex and fluorescent lights

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3,442

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1,981

<a href="https://www.tate.org.uk/art/artists/jeff-koons-2368" aria-label="More by Jeff Koons" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Jeff Koons</a>

New Hoover Convertibles Green Red Brown New Shelton WetDry 10 Gallon Displaced Doubledecker

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00077

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7014650 1003047 7007710 7012149

Jeff Koons

1,981

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false

1

https://media.tate.org.u…R/AR00077_10.jpg

2368

sculpture 4 vacuum cleaners perspex fluorescent lights

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New Hoover Convertibles, Green, Red, Brown, New Shelton Wet/Dry 10 Gallon Displaced Doubledecker

1,981

ARTIST ROOMS Tate and National Galleries of Scotland

1981–7

CLEARED

8

displayed: 2510 × 1370 × 715 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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null

false

18018 3646 4063 2476 1985 81 82 12910 5443 1704 9024 158 30 5164

false

artwork

Glass, steel, plastic and basketballs

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3,443

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1,983

<a href="https://www.tate.org.uk/art/artists/jeff-koons-2368" aria-label="More by Jeff Koons" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Jeff Koons</a>

Encased Four Rows

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00078

{ "id": 8, "meta": { "type": "art.Classification" } }

7014650 1003047 7007710 7012149

Jeff Koons

1,983

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false

1

https://media.tate.org.u…R/AR00078_10.jpg

2368

sculpture glass steel plastic basketballs

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Encased - Four Rows

1,983

ARTIST ROOMS Tate and National Galleries of Scotland

1983–93

CLEARED

8

unconfirmed: 2032 × 1400 × 432 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[]

[ "ball", "banality", "basket-ball", "consumerism", "contemporary society", "display case / vitrine", "emotions, concepts and ideas", "formal qualities", "furnishings", "high art", "humour", "leisure and pastimes", "lifestyle and culture", "objects", "product packaging", "reading, writing, printed matter", "repetition", "social comment", "society", "sport", "sports and games", "universal concepts" ]

null

false

955 18018 16065 4063 2476 1985 82 12910 5443 10924 174 9024 158 54 285 30

false

artwork

Polychromed aluminium and rubber coated steel

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3,444

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2,002

<a href="https://www.tate.org.uk/art/artists/jeff-koons-2368" aria-label="More by Jeff Koons" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Jeff Koons</a>

Caterpillar with chains

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00079

{ "id": 8, "meta": { "type": "art.Classification" } }

7014650 1003047 7007710 7012149

Jeff Koons

2,002

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false

1

https://media.tate.org.u…R/AR00079_10.jpg

2368

sculpture polychromed aluminium rubber coated steel

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Caterpillar (with chains)

2,002

ARTIST ROOMS Tate and National Galleries of Scotland

2002

CLEARED

8

object: 470 × 1945 × 1100 mm (does not include chains)

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[]

[ "animal", "animals: insects & lower animals", "banality", "caterpillar", "consumerism", "contemporary society", "emotions, concepts and ideas", "humour", "objects", "social comment", "society", "toys and models", "universal concepts" ]

null

false

11595 66 18018 10263 4063 2476 5443 158 89 30

false

artwork

Lithograph on paper on canvas

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Made in Heaven

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[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00080

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https://media.tate.org.u…R/AR00080_10.jpg

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Made in Heaven

1,989

ARTIST ROOMS Tate and National Galleries of Scotland

1989

CLEARED

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ARTIST ROOMS Tate and National Galleries of Scotland

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artwork

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1,988

<a href="https://www.tate.org.uk/art/artists/jeff-koons-2368" aria-label="More by Jeff Koons" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Jeff Koons</a>

Art Magazine Ads Art in America

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00081

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Jeff Koons

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paper print lithograph

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Art Magazine Ads (Art in America)

1,988

ARTIST ROOMS Tate and National Galleries of Scotland

1988–9

CLEARED

4

support: 915 × 712 mm frame: 1010 × 815 × 35 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[]

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null

false

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false

artwork

7 light emitting diode columns

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3,447

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2,007

<a href="https://www.tate.org.uk/art/artists/jenny-holzer-1307" aria-label="More by Jenny Holzer" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Jenny Holzer</a>

BLUE PURPLE TILT

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00082

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Jenny Holzer

2,007

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1307

installation 7 light emitting diode columns

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BLUE PURPLE TILT

2,007

ARTIST ROOMS Tate and National Galleries of Scotland

2007

CLEARED

3

Overall display dimensions variable object, each: 4190 × 136 × 136 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nBLUE PURPLE TILT consists of seven tall and narrow LED (light-emitting diode) signs leaning against the gallery wall at an equal distance from one another. The top and bottom ends of the signs are bevelled so that they can be neatly mounted to the wall at the same angle. Vertical strips of identical light-blue text simultaneously scroll up the seven signs from the bottom to the top until they disappear from view, followed by a new message. The messages scroll up the signs at varying speeds and rhythms and occasionally flash, making them difficult to read. The texts also run up the back of the double-sided signs in red, purple or blue, but these are only perceptible as a colourful glow cast onto the supporting wall and floor. \nThe texts are drawn from Holzer’s previous works, including Truisms (1977–9) (see Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/holzer-truisms-t03959\" title=\"View the details of this artwork\">T03959</a>) such as ‘ABUSE OF POWER COMES AS NO SURPRISE’, and the more emotional Laments (1988–9), for example ‘I CAN MAKE WOMEN’S BREASTS WEEP’. All of the messages used in BLUE PURPLE TILT are ‘found’ phrases, originally appropriated from myriad literary, poetic and public sources. Holzer explains:\n\n<blockquote>There can be a deliberate scrambling, or at least a heaping of many messages. Sometimes the messages are conflicting, and other times the language and the messages will be blunt and to the point. I routinely invite the reader to sort out the offerings and complete the thoughts, and to echo, amplify or shrink from the feeling that the work elicits. (Quoted in Museum of Contemporary Art Chicago 2010, p.119.)</blockquote>\nHolzer has exhibited her text-based work outside in public spaces since the 1980s. Her work has ranged from pasting posters in urban environments to projecting messages onto prominent buildings in countries around the world. The LED signage of BLUE PURPLE TILT makes reference to the technology used in modern public advertising and warning signs. Holzer has said that having viewers consider the uses of technology to attract attention has been a particular motivation for her in selecting this medium:\n\n<blockquote>The move to electronic technology had to do with my needing to be where people look. I thought I should present as many hard germane subjects large, loud and well as what’s done for celebrity gossip, concerts, products and the sometimes too cautious reporting of the news. (Quoted in Museum of Contemporary Art Chicago 2010, p.120.)</blockquote>\nAs technology develops and expands, LED signage will eventually be superseded by different modes of communication. Anticipating the potential obsolescence of the LED, Holzer has specified that she wishes BLUE PURPLE TILT to preserve its ‘LED appearance’, even if the work is adapted in future years to suit more contemporary technology. \n\nFurther reading\n Michael Auping, Jenny Holzer, New York 1992. \nJenny Holzer: Protect Protect, exhibition catalogue, Museum of Contemporary Art Chicago, Chicago 2010. \nFlorence Ritter January 2012\n</div>\n", "display_name": "Summary", "publication_date": "2012-06-22T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "In her reference to everyday experiences and emotions, Holzer’s witty and provocative slogans offer a critical reflection on modern society. 'BLUE PURPLE TILT' collates messages from the artist’s career, charting her development from the early 'Truisms' and 'Survival' series, including pithy texts such as \"PROTECT ME FROM WHAT I WANT\", through to the anonymous declarations of the 'Inflammatory Essays' and personal musings of 'Lamentations'. Seven luminous LED signs are used to transmit her texts, emanating brightly and enveloping the viewer. The staging of her messages is central to Holzer’s practice, and serves to emphasise how language shapes our cultural environments.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstraction", "colour", "emotions, concepts and ideas", "formal qualities", "light", "non-representational", "repetition", "text" ]

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3,448

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Protect Protect

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00083

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7022987 2002277 7013961 7012149

Jenny Holzer

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In this work by American artist Jenny Holzer, an image of a military map of Iraq has been screen-printed onto a linen canvas covered in a thin, translucent layer of violet oil paint. The map was first photocopied onto clear film, called a photo-stencil, which was used in the screen-printing process to transfer the image onto the canvas. The map features various labels, arrows and symbols. Three signs for military jets point towards the capital city of Baghdad, which lies almost at the centre of the screen print. Three labels reading ‘Protect’ frame the north, west and south sides of the map (where Iraq borders Turkey, Jordan and Saudi Arabia respectively). Around the map are various instructional labels, with the words ‘Suppress’, ‘Fix’, ‘Seize’, ‘Isolate’, ‘Shock and Awe’, ‘Exploit’ and ‘Gain Control’. (‘Shock and awe’ was a phrase used by the American government to describe its tactic of using overwhelming power during the invasion of Iraq in 2003.) These instructions suggest the defensive and offensive strategies of a military force. A box in the top right-hand corner notes details of the image’s declassification in June 2006.

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Protect Protect

2,007

ARTIST ROOMS Tate and National Galleries of Scotland

2007

CLEARED

6

support: 2011 × 2600 × 40 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nIn this work by American artist Jenny Holzer, an image of a military map of Iraq has been screen-printed onto a linen canvas covered in a thin, translucent layer of violet oil paint. The map was first photocopied onto clear film, called a photo-stencil, which was used in the screen-printing process to transfer the image onto the canvas. The map features various labels, arrows and symbols. Three signs for military jets point towards the capital city of Baghdad, which lies almost at the centre of the screen print. Three labels reading ‘Protect’ frame the north, west and south sides of the map (where Iraq borders Turkey, Jordan and Saudi Arabia respectively). Around the map are various instructional labels, with the words ‘Suppress’, ‘Fix’, ‘Seize’, ‘Isolate’, ‘Shock and Awe’, ‘Exploit’ and ‘Gain Control’. (‘Shock and awe’ was a phrase used by the American government to describe its tactic of using overwhelming power during the invasion of Iraq in 2003.) These instructions suggest the defensive and offensive strategies of a military force. A box in the top right-hand corner notes details of the image’s declassification in June 2006.\nThis large-scale canvas is part of Holzer’s Redaction Paintings series, which the artist began in 2006. It is one of six works from this series in the ARTIST ROOMS collection. Material for this series came from declassified US government documents, particularly those concerning national security, economic policy and foreign relations. Holzer began to use US government files in her work in 2004, taking advantage of the US 1966 Freedom of Information Act, which allows any requesting member of the public to view declassified documents. Redaction refers to the censoring of information in a text, and as the title of the series of Redaction Paintings suggests, Holzer’s images were based on documents redacted by the US government before being made publicly available. Many of the source documents used in the series were made almost entirely illegible through the work of censors before their release, but this appears not to have been the case with the source image used for Protect Protect, which has only two lines of text crossed out. Holzer’s use of a photo-stencil to screen-print the image of the map allowed every element of the document to be reproduced in all its original detail.\n\nProtect Protect makes no explicit critique of its subject matter, but by taking this map out of its military context and holding it up to public scrutiny in an art gallery, Holzer probes the boundaries between transparency and censorship, inviting viewers to reflect upon documentary evidence that offers an alternative reality to the images of war presented in the mass media, while avoiding sensationalist images or the direct representation of violence. The artist has explained her motivation to make such work: ‘As one becomes habituated to things, their intensity is dulled … in the last decades of the twentieth century, political rhetoric on all sides became so strident and inflated that obliqueness and artful understatement proved the most effective means of catching the attention of a weary public.’ (Storr 2006, p.14.)\nDescribed by the art critic Robert Storr as ‘a verbal maze of specialised terminology, acronyms, abbreviations, rote salutations and initials’ (Storr 2006, p.8), the Redaction Paintings were the first works on canvas Holzer exhibited in her career. Before this, she was known primarily for her language-based works, involving a variety of media including posters, LED screen works and projections.\n\nFurther reading\n Robert Storr, Jenny Holzer: Redaction Paintings, New York 2006. Cathy Lebowitz, ‘Protect Us From What We Don’t Know’, Art in America, vol.94, no.9, October 2006, pp.162–6. \nJenny Holzer: Protect Protect, exhibition catalogue, Museum of Contemporary Art Chicago 2010.\nFlorence Ritter January 2012\n</div>\n", "display_name": "Summary", "publication_date": "2012-06-22T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "Holzer’s works have a strong political emphasis, questioning how information is both controlled and received in the public domain. First exhibited at the Venice Biennale in 2007, 'Protect Protect' forms part of a series of screenprints that reveal sensitive government transcripts relating to America’s intervention in the Middle East. Here Holzer uses a document from the National Security Archive, enlarging a military map and setting it upon a bright background. Holzer’s technique forces us to acknowledge the interpretative power of language, where the words \"protect\", \"suppress\" and \"isolate\" emanate strongly against the image of a deeply divided and segregated Iraq.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstraction", "arrow", "colonialism", "diagrammatic", "emotions, concepts and ideas", "formal qualities", "inscriptions", "map", "non-representational", "printed text", "social comment", "society", "symbols and personifications", "text" ]

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Shape Battlespace

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00084

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7022987 2002277 7013961 7012149

Jenny Holzer

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In this work by American artist Jenny Holzer, an image of a military map of Iraq has been screen-printed onto a linen canvas covered in a thin, translucent layer of violet oil paint. The map was first photocopied onto clear film, called a photo-stencil, which was used in the screen-printing process to transfer the image onto the canvas. The dark shape of the country is positioned centrally and occupies about half of the canvas. It is framed by a thin rectangular border that does not accurately line up with the edges of the canvas. The map is scattered with military symbols: a chain of triangular observation posts crosses the centre of the country, military aircraft indicate the direction of flight lines and point to jagged-edged shapes suggesting explosions at several locations. The map’s place names are mostly obscured by the coded elements though Baghdad is clearly visible at its centre. Three inset boxes surround the map and provide further detail: in the bottom left corner an enlarged area of the country indicates the projected positions of the military; details of the original document’s declassification can be read in the top right corner; and the map’s title ‘Phase II – Shape the Battlespace / (A-Day to A 4) / 5 Days’ is written in large letters in the top left corner.

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Shape the Battlespace

2,007

ARTIST ROOMS Tate and National Galleries of Scotland

2007

CLEARED

6

support: 2011 × 2602 × 40 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nIn this work by American artist Jenny Holzer, an image of a military map of Iraq has been screen-printed onto a linen canvas covered in a thin, translucent layer of violet oil paint. The map was first photocopied onto clear film, called a photo-stencil, which was used in the screen-printing process to transfer the image onto the canvas. The dark shape of the country is positioned centrally and occupies about half of the canvas. It is framed by a thin rectangular border that does not accurately line up with the edges of the canvas. The map is scattered with military symbols: a chain of triangular observation posts crosses the centre of the country, military aircraft indicate the direction of flight lines and point to jagged-edged shapes suggesting explosions at several locations. The map’s place names are mostly obscured by the coded elements though Baghdad is clearly visible at its centre. Three inset boxes surround the map and provide further detail: in the bottom left corner an enlarged area of the country indicates the projected positions of the military; details of the original document’s declassification can be read in the top right corner; and the map’s title ‘Phase II – Shape the Battlespace / (A-Day to A+4) / 5 Days’ is written in large letters in the top left corner.\nThis large-scale canvas forms part of Holzer’s Redaction Paintings series, which the artist began making in 2006, and is one of six works from this series in the ARTIST ROOMS collection. Material for this series came from declassified US government documents, particularly those concerning national security, economic policy and foreign relations. Holzer began to use US government files in her work in 2004, taking advantage of the US 1966 Freedom of Information Act, which allows members of the public to request to see declassified documents. As the title of the Redaction Paintings series suggests (‘redaction’ refers to the censorship of sensitive information), many of the documents used in the series were made almost entirely illegible before their release, but this was not the case with the source image used for Shape the Battlespace, which has no areas crossed out or obscured. Holzer’s use of a photo-stencil to screen-print the image of the map allowed every element of the photocopied document to be reproduced in all its original detail, though without any explanatory key for the symbols and military acronyms used.\n\nShape the Battlespace makes no explicit critique of its subject matter, but by taking this map out of its military context and holding it up to public scrutiny in an art gallery, Holzer probes the boundaries between transparency and censorship, inviting viewers to reflect upon documentary evidence that offers an alternative reality to the images of war presented in the mass media, while avoiding sensationalist images or the direct representation of violence. The artist has explained her motivation to make such work: ‘As one becomes habituated to things, their intensity is dulled … in the last decades of the twentieth century, political rhetoric on all sides became so strident and inflated that obliqueness and artful understatement proved the most effective means of catching the attention of a weary public.’ (Quoted in Storr 2006, p.14.) \nDescribed by the art critic Robert Storr as ‘a verbal maze of specialised terminology, acronyms, abbreviations, rote salutations and initials’ (Storr 2006, p.8), the Redaction Paintings were the first works on canvas Holzer exhibited in her career. Before this, she was known primarily for her language-based works, involving a variety of media including posters, LED screen works and projections.\n\nFurther reading\n Robert Storr, Jenny Holzer: Redaction Paintings, New York 2006. Cathy Lebowitz, ‘Protect Us From What We Don’t Know’, Art in America, vol.94, no.9, October 2006, pp.162–6. \nJenny Holzer: Protect Protect, exhibition catalogue, Museum of Contemporary Art Chicago 2010.\nFlorence Ritter December 2011\n</div>\n", "display_name": "Summary", "publication_date": "2012-06-22T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "Holzer’s works have a strong political emphasis, questioning how information is both controlled and received in the public domain. First exhibited at the Venice Biennale in 2007, this work forms part of a series of screenprints that reveal sensitive government transcripts relating to America’s intervention in the Middle East. Here Holzer uses a document from the National Security Archive, enlarging a military map of Iraq and setting it against a bright background. As with her earlier 'Truisms', language is Holzer’s primary concern, with the phrase \"Shape the Battle Space\" appearing sinisterly alongside strategic illustrations of the invasion.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstraction", "arrow", "battle", "diagrammatic", "emotions, concepts and ideas", "formal qualities", "inscriptions", "map", "military", "non-representational", "printed text", "social comment", "society", "symbols and personifications", "text", "war", "work and occupations" ]

null

false

9985 9910 9329 166 9331 128 185 9326 158 445 3592

false

artwork

Video, projection, colour and sound (stereo) and printed papers

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3,450

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1,997

<a href="https://www.tate.org.uk/art/artists/johan-grimonprez-9716" aria-label="More by Johan Grimonprez" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Johan Grimonprez</a>

Dial HISTORY Inflight

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00085

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7007978 7003458 7018236 1000063

Johan Grimonprez

1,997

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false

1

https://media.tate.org.u…R/AR00085_10.jpg

9716

installation video projection colour sound stereo printed papers

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Dial H-I-S-T-O-R-Y Inflight

1,997

ARTIST ROOMS Tate and National Galleries of Scotland

1997–2001

CLEARED

3

overall display dimensions variable

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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[ "aircraft, civil", "airport", "architecture", "conflict", "destruction", "documentary", "emotions and human qualities", "emotions, concepts and ideas", "formal qualities", "government and politics", "history", "horror", "natural phenomena", "objects", "photographic", "politics and society", "politics: Cold War, post-1945", "public and municipal", "smoke", "society", "terrorism", "transport: air", "universal concepts", "violence", "weapon, firing / explosion", "weapons" ]

null

false

4571 4617 26731 1715 17884 31 155 795 70 9328 38 233 24 1792 15740 159 30 1968 12084 90

false

artwork

Wood, steel wire and lead

[ { "append_role_to_name": false, "date": "1921–1986", "fc": "Joseph Beuys", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/joseph-beuys-747" } ]

3,451

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1,985

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Scala Napoletana

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00086

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7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,985

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false

1

https://media.tate.org.u…R/AR00086_10.jpg

747

sculpture wood steel wire lead

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Scala Napoletana

1,985

ARTIST ROOMS Tate and National Galleries of Scotland

1985

CLEARED

8

Overall dimensions variable:11000 × 10000 × 6000mm Ladder: 4510 × 250 × 80mm, Lead spheres: 500mm diameter each.

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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[ "balance", "emotions, concepts and ideas", "formal qualities", "ladder", "miscellaneous", "objects", "sphere", "tools and machinery" ]

null

false

6735 458 287 11196 86

false

artwork

Wood, glass, felt, oil paint and paper

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3,452

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1,953

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Langhaus Vitrine

2,008

Langhaus (Vitrine)

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00087

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7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,953

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false

1

https://media.tate.org.u…R/AR00087_10.jpg

747

installation wood glass felt oil paint paper

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Langhaus (Vitrine)

1,953

ARTIST ROOMS Tate and National Galleries of Scotland

1953–62

CLEARED

3

displayed: 1830 × 1545 × 640 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "'Langhaus' can be variously translated as 'nave' such as one finds in a church, or 'longhouse', such as the dwelling house for one or several families found in early north European regions or, still today, in tribal communities in the Amazon region or the South Seas. The block of wood has a small piece of felt attached to the top, suggesting, according to Beuys's usual iconography, the idea of protection, a connotation strengthened by the length of felt also lying in the vitrine. The walking stick lying alongside the felt is a traditional Beuysian symbol for leadership and protection, much as a shepherd looks after his flock.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "cane / walking stick", "clothing and personal items", "display case / vitrine", "emotional states and conditions", "felt", "furnishings", "miscellaneous", "objects", "protection - felt", "symbols and personifications", "tools and machinery", "wood" ]

null

false

4858 88 1985 163 1998 82 287 8056 86 1297

false

artwork

Wood, glass, metal, fabric, paint, fat and thermometer

[ { "append_role_to_name": false, "date": "1921–1986", "fc": "Joseph Beuys", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/joseph-beuys-747" } ]

3,453

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999967, "shortTitle": "National Heritage Memorial Fund" }, { "id": 999999968, "shortTitle": "Art Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,964

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Fat Chair

2,008

Fettstuhl

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00088

{ "id": 8, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,964

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false

1

https://media.tate.org.u…R/AR00088_10.jpg

747

sculpture wood glass metal fabric paint fat thermometer

[ { "artistRoomsTour": true, "dateText": "4 July 2009 – 27 September 2009", "endDate": "2009-09-27", "exhibitionLegs": [ { "dateText": "4 July 2009 – 27 September 2009", "endDate": "2009-09-27", "id": 5117, "startDate": "2009-07-04", "venueName": "De La Warr Pavilion (Bexhill on Sea, UK)", "venueWebsiteUrl": "http://www.dlwp.com/" } ], "id": 4293, "startDate": "2009-07-04", "title": "ARTIST ROOMS 2009: Joseph Beuys", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "1 April 2010 – 27 September 2010", "endDate": "2010-09-27", "exhibitionLegs": [ { "dateText": "1 April 2010 – 27 September 2010", "endDate": "2010-09-27", "id": 5392, "startDate": "2010-04-01", "venueName": "Hunterian Museum and Art Gallery (Glasgow, UK)", "venueWebsiteUrl": "http://www.hunterian.gla.ac.uk" } ], "id": 4519, "startDate": "2010-04-01", "title": "ARTIST ROOMS 2010: Joseph Beuys", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "13 October 2017 – 21 January 2018", "endDate": "2018-01-21", "exhibitionLegs": [ { "dateText": "13 October 2017 – 21 January 2018", "endDate": "2018-01-21", "id": 11192, "startDate": "2017-10-13", "venueName": "Leeds Art Gallery (Leeds, UK)", "venueWebsiteUrl": "http://www.leeds.gov.uk/artgallery/" } ], "id": 9216, "startDate": "2017-10-13", "title": "ARTIST ROOMS 2017: Joseph Beuys", "type": "Loan-out" } ]

Fat Chair

1,964

ARTIST ROOMS Tate and National Galleries of Scotland

1964–85

CLEARED

8

displayed: 1830 × 1550 × 640 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[]

[ "birth to death", "chair", "display case / vitrine", "fat", "furnishings", "life - fat", "miscellaneous", "objects", "symbols and personifications" ]

null

false

164 750 1985 1987 82 1995 287

false

artwork

Palm fronds, blossom, sulphur, cardboard, metal and glass

[ { "append_role_to_name": false, "date": "1921–1986", "fc": "Joseph Beuys", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/joseph-beuys-747" } ]

3,454

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999967, "shortTitle": "National Heritage Memorial Fund" }, { "id": 999999968, "shortTitle": "Art Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,981

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Domenica delle Palme

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00089

{ "id": 8, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,981

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false

1

https://media.tate.org.u…R/AR00089_10.jpg

747

sculpture palm fronds blossom sulphur cardboard metal glass

[]

Domenica delle Palme

1,981

ARTIST ROOMS Tate and National Galleries of Scotland

1981

CLEARED

8

displayed: 860 × 1450 × 990 mm object (vitrine): 200 × 690 × 470 mm object (table): 660 × 760 × 520 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[]

[ "blossom", "box", "Judaeo-Christian imagery", "leaf", "natural phenomena", "objects", "palm", "Palm Sunday", "plants and flowers", "religion and belief", "sulphur", "vessels and containers" ]

null

false

2270 1284 133 448 70 1831 17860 72 170

false

artwork

Graphite on paper

[ { "append_role_to_name": false, "date": "1921–1986", "fc": "Joseph Beuys", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/joseph-beuys-747" } ]

3,455

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999967, "shortTitle": "National Heritage Memorial Fund" }, { "id": 999999968, "shortTitle": "Art Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,981

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Drawing Dominica delle Palme vitrine

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00090

{ "id": 5, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,981

[ { "archiveItemCount": 147, "id": 134, "level": 2, "name": "Bible: New Testament", "parent_id": 132, "workCount": 398 }, { "archiveItemCount": 5, "id": 1985, "level": 3, "name": "display case / vitrine", "parent_id": 82, "workCount": 37 }, { "archiveItemCount": 882, "id": 82, "level": 2, "name": "furnishings", "parent_id": 78, "workCount": 2199 }, { "archiveItemCount": 1697, "id": 166, "level": 2, "name": "inscriptions", "parent_id": 162, "workCount": 4967 }, { "archiveItemCount": 389, "id": 133, "level": 2, "name": "Judaeo-Christian imagery", "parent_id": 132, "workCount": 467 }, { "archiveItemCount": 615, "id": 1982, "level": 3, "name": "notes and diagrams", "parent_id": 166, "workCount": 267 }, { "archiveItemCount": 9924, "id": 78, "level": 1, "name": "objects", "parent_id": 1, "workCount": 13647 }, { "archiveItemCount": 1, "id": 17860, "level": 3, "name": "Palm Sunday", "parent_id": 133, "workCount": 3 }, { "archiveItemCount": 0, "id": 2588, "level": 3, "name": "Passion", "parent_id": 134, "workCount": 41 }, { "archiveItemCount": 0, "id": 132, "level": 1, "name": "religion and belief", "parent_id": 1, "workCount": 2443 }, { "archiveItemCount": 1762, "id": 162, "level": 1, "name": "symbols and personifications", "parent_id": 1, "workCount": 5388 } ]

false

1

https://media.tate.org.u…R/AR00090_10.jpg

747

paper unique graphite

[]

Drawing for Dominica delle Palme vitrine

1,981

ARTIST ROOMS Tate and National Galleries of Scotland

1981–5

CLEARED

5

support: 210 × 296 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "This drawing relates to a sculpture which is also in the ARTIST ROOMS Collection. It shows the shape of the glass-topped vitrine, which contains palm leaves and blossom lying on a bed of powdered sulphur. Although the sculpture is dated 1981, this drawing is marked '81-85', suggesting it was made after the sculpture rather than being drawn to plan it. The title of the work hints at Beuys's love of Italy, and includes the name of a Christian feast. The year 1985 saw his work included in the exhibition 'Cross + Symbol, Religious Foundations in the work of Joseph Beuys', as well as being the last time an 'environment' was created by Beuys, for an exhibition in Naples.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "Bible: New Testament", "display case / vitrine", "furnishings", "inscriptions", "Judaeo-Christian imagery", "notes and diagrams", "objects", "Palm Sunday", "Passion", "religion and belief", "symbols and personifications" ]

null

false

134 1985 82 166 133 1982 17860 2588

false

artwork

2 boards, zinc and glass

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3,456

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999967, "shortTitle": "National Heritage Memorial Fund" }, { "id": 999999968, "shortTitle": "Art Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,963

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

White Turbulence

2,008

Weisse Trussung

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00091

{ "id": 7, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,963

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false

1

https://media.tate.org.u…R/AR00091_10.jpg

747

relief 2 boards zinc glass

[]

White Turbulence

1,963

ARTIST ROOMS Tate and National Galleries of Scotland

1963

CLEARED

7

displayed: 485 × 729 × 80 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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[ "abstraction", "gestural", "monochromatic", "non-representational" ]

null

false

227 9663 185

false

artwork

Felt and wood

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3,457

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999967, "shortTitle": "National Heritage Memorial Fund" }, { "id": 999999968, "shortTitle": "Art Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,970

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Felt Suit

2,008

Filzanzug

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00092

{ "id": 8, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,970

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Felt Suit 1970 is a two-piece suit comprising a jacket and a pair of trousers made from coarse grey felt. It is number seventy-seven in an edition of one hundred identical suits, all produced in the same year by the German artist Joseph Beuys. The artist has stated that work can be displayed in any way, although it is usually shown hanging from a wooden coat hanger. The jacket has lapels and three pockets – one on each side of its lower portion and one right breast pocket – and the trousers feature belt loops. There is no lining inside the jacket, nor does it have any buttons, and the seams are machine-woven with grey cotton thread. All of the suits in the edition feature a label on the inside bearing a stamp and the edition number of the work. Another edition of Felt Suit is held in the main Tate collection (Tate T07441).

false

1

https://media.tate.org.u…R/AR00092_10.jpg

747

sculpture felt wood

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Felt Suit

1,970

ARTIST ROOMS Tate and National Galleries of Scotland

1970

CLEARED

8

displayed: 1660 × 660 × 260 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nFelt Suit 1970 is a two-piece suit comprising a jacket and a pair of trousers made from coarse grey felt. It is number seventy-seven in an edition of one hundred identical suits, all produced in the same year by the German artist Joseph Beuys. The artist has stated that work can be displayed in any way, although it is usually shown hanging from a wooden coat hanger. The jacket has lapels and three pockets – one on each side of its lower portion and one right breast pocket – and the trousers feature belt loops. There is no lining inside the jacket, nor does it have any buttons, and the seams are machine-woven with grey cotton thread. All of the suits in the edition feature a label on the inside bearing a stamp and the edition number of the work. Another edition of Felt Suit is held in the main Tate collection (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-felt-suit-t07441\" title=\"View the details of this artwork\">T07441</a>).\nThis work was made by Beuys in 1970, when he was primarily living and working in Düsseldorf, Germany, and the edition was issued by Galerie René Block in Berlin that same year. Beuys commonly wore clothing made from felt throughout his career and in an interview conducted in the year that this work was made he stated that it was ‘tailored after my own suit’ (Beuys in Schnellman and Klüsser 1980, unpaginated). It is not clear exactly how the one hundred suits in the edition were created, nor whether the resulting objects are identical to Beuys’s original garment. However, discussing this work in 1970 Beuys stated that ‘felt is … pressed together usually from hare or rabbit’s hair’, suggesting that one of these may be the material used here (Beuys in Schnellman and Klüsser 1980, unpaginated). When asked in the same interview how he would like the work to be displayed, Beuys answered: ‘I don’t give a damn. You can nail the suit to the wall. You can also hang it on a hanger, ad libitum! But you can also wear it or throw it into a chest’ (Beuys in Schnellman and Klüsser 1980, unpaginated). During his career Beuys produced several other works that can be displayed in multiple ways, such as The End of the Twentieth Century 1983–5 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-the-end-of-the-twentieth-century-t05855\" title=\"View the details of this artwork\">T05855</a>).\nThe simple, descriptive title of this work emphasises the material used and indicates that the object is a suit – something that usually has an everyday, practical function rather than a creative one. Despite Beuys’s statement that the suit could be worn as a means of displaying it, in the same interview he said that doing so would be impractical since ‘in a relatively short time it’ll lose its shape because felt is not a material which holds its form’ (Beuys in Schnellman and Klüsser 1980, unpaginated). Nonetheless, in producing this work that could serve as a functional object, Beuys may have been questioning the traditional separation between fine art and domestic items. He stated further that when making works which seem to be everyday objects, he hoped that viewers might ‘realize that everyone is an artist, because, many people will ask themselves: “Why don’t I make something like that, something similar.” The sentence “Everybody is an artist” simply means to point out that the human being is a creative being, that he is a creator, and what’s more, that he can be productive in a great many different ways. To me, it’s irrelevant whether a product comes from a painter, from a sculptor or from a physicist.’ (Beuys in Schnellman and Klüsser 1980, unpaginated.)\nBetween 1965 and 1986 Beuys created over five hundred sets of ‘multiples’ or editioned works. In 1970 he stated that he worked in this way because he was ‘interested in spreading ideas’ and multiples allowed him to reach ‘a larger number of people’ (Beuys in Schnellman and Klüsser 1980, unpaginated).\nBeuys frequently used felt in his work, including in sculptures (see, for instance, Homogeneous Infiltration for Piano 1966, Centre Georges Pompidou, Paris), installations (such as The Pack 1969, Neue Galerie, Kassel) and performances (see, for example, Felt TV 1970). He associated felt with the production of ‘warmth’ and sometimes referred to object-based works involving the material as ‘warmth sculptures’ (quoted in Schnellman and Klüsser 1980, unpaginated). In 1979 he wrote that he was interested in producing sculptures that emphasise ongoing processes (such as insulation) rather than fixed states because he wanted to show that ‘Everything is in a state of change’, an idea that he linked with the concept of ‘social sculpture’, or ‘how we mold and shape the world in which we live: sculpture as an evolutionary process’ (Joseph Beuys, ‘Introduction’, in Carin Kuoni, Energy Plan for the Western Man: Joseph Beuys in America, New York 1990, p.19).\n\nFurther reading\n Jörg Schnellman and Bernd Klüsser, Joseph Beuys: Multiples, 5th edn, Berlin 1980, unpaginated, reproduced. \nJoseph Beuys: Actions, Vitrines, Environments, exhibition catalogue, Menil Collection, Houston 2004, p.216, reproduced p.44. Claudia Mesch and Viola Michely, Joseph Beuys: The Reader, London 2007.\nDavid Hodge March 2015\n\nSupported by Christie’s.\n\n</div>\n", "display_name": "Summary", "publication_date": "2015-08-21T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "Beuys began producing works in multiples in the 1960s, partly as a way to combat the elitism of the art world. This is probably his most famous multiple. It has its origins in the performance 'Action the Dead Mouse / Isolation Unit' of 1970, where Beuys wore a felt suit with lengthened arms and legs, like the one seen here. He described the suit as an extension of the sculptures he made with felt, where the material's insulating properties were integral to the meaning of the work. Beuys intended this concept of warmth to extend beyond the material to encompass what he described as 'spiritual warmth or the beginning of an evolution'.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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6 photographic negatives

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<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Show Your Wound

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00093

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Joseph Beuys

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https://media.tate.org.u…R/AR00093_10.jpg

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relief 6 photographic negatives

[]

Show Your Wound

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ARTIST ROOMS Tate and National Galleries of Scotland

1977

CLEARED

7

support (top left): 238 × 330 mm support (top right): 240 × 329 mm support (centre left): 238 × 328 mm support (centre right): 239 × 329 mm support (lower left): 237 × 828 mm support (lower right): 237 × 329 mm frame: 1070 × 790 × 50 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "'Show Your Wound' was an installation created by Beuys in 1974-75 in a bleak pedestrian underpass in Munich. Elements used there can be seen in these negatives; a pair of dissecting tables and the heads of two iron agricultural tools, mounted on wooden sticks. The wound was a recurring theme for the artist. On a personal level it referred to injuries he received in the Second World War, his breakdown in the 1950s and his heart attack in 1975. More generally, he used the idea to reference events in Germany's past and the divide between Eastern and Western cultures.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "agriculture, gardening & fishing", "architecture", "cross", "diseases and conditions", "dissecting table", "division", "document - non-specific", "emotions and human qualities", "emotions, concepts and ideas", "fork", "formal qualities", "history", "inscriptions", "medical", "objects", "people", "photographic", "politics and society", "politics: Germany, division, post-1945", "reading, writing, printed matter", "social comment", "society", "stamp", "suffering", "symbols and personifications", "title of work", "townscapes / man-made features", "underpass", "universal concepts", "vulnerability", "western society", "wounded" ]

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<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Show Your Wound

2,008

Zeige deine Wunde

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00094

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Joseph Beuys

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Show Your Wound

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ARTIST ROOMS Tate and National Galleries of Scotland

1977–84

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support: 327 × 450 mm frame: 1075 × 791 × 50 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "This negative image shows a pair of dissecting tables which were used in the 1974-75 installation 'Show Your Wound'. Beuys created the installation in a dark and dingy pedestrian underpass in Munich, where the sounds of traffic overhead and harsh glare of neon lights were an integral part of the atmosphere created. Above the tables are two rectangular metal boxes, their placement suggesting the position of 'heads' to bodies lying on the beds. Beuys used double images and objects to refer to death, and the divisions within people and society. As he had suffered a heart attack in 1975, the allusions to death and inclusion of the tables (as used in a mortuary) are particularly striking.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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Graphite and watercolour on card

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<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Dove Food Rainbow

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00095

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7005980 1003123 7003677 7000084 7004443

Joseph Beuys

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1

https://media.tate.org.u…R/AR00095_10.jpg

747

paper unique graphite watercolour card

[]

Dove, Food, Rainbow

1,949

ARTIST ROOMS Tate and National Galleries of Scotland

1949

CLEARED

5

support: 207 × 297 mm frame: 674 × 541 × 30 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "This painting was made while Beuys was a student at the Staatliche Kunstakademie (State Academy of Art) in Düsseldorf, where he studied from 1947 to 1951. In this period immediately after the Second World War, in which Beuys had participated as a fighter pilot, nature was a central source of inspiration. Much of the artist's work included plant and animal forms. Here, he has emphasised the simple outlines of the three elements of the picture, which are arranged harmoniously to form a circle. Beuys had shown a talent for painting in watercolour from a young age, with some of his paintings displayed in his school.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstraction", "animals: actions", "animals: birds", "dove", "emotions, concepts and ideas", "environment / nature", "feeding", "figure", "from recognisable sources", "landscape", "natural phenomena", "rainbow", "universal concepts" ]

null

false

61 62 265 1596 5054 221 189 223 70 5377 30

false

artwork

Graphite and oil paint on paper

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3,461

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999967, "shortTitle": "National Heritage Memorial Fund" }, { "id": 999999968, "shortTitle": "Art Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,951

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Ice Age

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00096

{ "id": 5, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,951

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false

1

https://media.tate.org.u…R/AR00096_10.jpg

747

paper unique graphite oil paint

[]

Ice Age

1,951

ARTIST ROOMS Tate and National Galleries of Scotland

1951

CLEARED

5

support: 622 × 297 mm frame: 826 × 622 × 40 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "In this work, Beuys has drawn several repeated shapes which appear to represent the outline of a woolly mammoth. Although animals of all kinds appear in Beuys's drawings, the mammoth represents not only nature but also pre-history. He was fascinated by anything which served as a reminder of the earth's great age, from rock formations to fossil fuels. In connection with his artistic exploration of sources of energy and heat, Beuys's scientific mind may also have been interested in the warm coat of the animal and its process of secreting a greasy fat into its hair in order to stay warm.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstraction", "animals: mammals", "emotions, concepts and ideas", "figure", "from recognisable sources", "history", "history", "mammoth", "period: Ice Age", "politics and society", "survival", "universal concepts" ]

null

false

67 221 189 3647 16922 17996 38 17953 30

false

artwork

Graphite and watercolour on paper

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3,462

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999967, "shortTitle": "National Heritage Memorial Fund" }, { "id": 999999968, "shortTitle": "Art Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,952

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Roses

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00097

{ "id": 5, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,952

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false

1

https://media.tate.org.u…R/AR00097_10.jpg

747

paper unique graphite watercolour

[]

Roses

1,952

ARTIST ROOMS Tate and National Galleries of Scotland

1952

CLEARED

5

support: 209 × 254 mm frame: 674 × 540 × 39 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "The overall theme of this work seems particularly female, from the title to the two representations of a female figure. On the right is an upright, curvy figure, while a female torso and legs can be seen diagonally across the image. Beuys's inclusion of colour in his work is both deliberate and meaningful, as he used colour as a 'substance' in the same way as he incorporated unusual materials into his paintings. As much of his work used neutral colours like greys and browns, colour becomes all the more obvious. Here, he has included pink dots at the feet of the female figure, presumably the 'Roses' of the title.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "adults", "female", "nudes", "people", "plants and flowers", "rose", "woman" ]

null

false

519 98 72 1283 167

false

artwork

Graphite, watercolour and stamp on paper

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3,463

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1,952

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Table

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00098

{ "id": 5, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,952

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false

1

https://media.tate.org.u…R/AR00098_10.jpg

747

paper unique graphite watercolour stamp

[]

The Table

1,952

ARTIST ROOMS Tate and National Galleries of Scotland

1952

CLEARED

5

support: 209 × 297 mm frame: 674 × 540 × 39 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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null

false

92 1050 6767 149 31 82 166 480 195 621 1982 98 6951 826

false

artwork

Graphite on paper

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3,464

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1,953

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Angel Whale

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00099

{ "id": 5, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,953

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false

1

https://media.tate.org.u…R/AR00099_10.jpg

747

paper unique graphite

[]

Angel Whale

1,953

ARTIST ROOMS Tate and National Galleries of Scotland

1953

CLEARED

5

support: 298 × 414 mm frame: 674 × 541 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "Beuys's depictions of fish and sea creatures are an extension of his lifelong interest in animals. In combining angel and whale, he brings together the heavens and the depth of the sea: an intangible spirit crossed with an enormous mammal. Beuys often turned animals into gods. He wrote: \"Animals are in reality also angelic beings. They speak of a realm above human beings, of a spiritual dimension, contained within people themselves\". Although the hook shape suggests physical danger for the whale, it may also refer to the ancient tribal custom of attaching fish hooks to the mouth and nostrils of a dead person in order to catch the soul as it escapes from the body.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstraction", "angel", "animals: fish and aquatic life", "figure", "from recognisable sources", "mysticism", "religion and belief", "spirituality", "universal religious imagery", "whale" ]

null

false

5733 65 221 189 444 3672 5731 11938

false

artwork

Graphite and oil paint on acetate

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3,465

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1,953

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Weird Sister

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00100

{ "id": 5, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,953

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false

1

https://media.tate.org.u…R/AR00100_10.jpg

747

paper unique graphite oil paint acetate

[]

Weird Sister

1,953

ARTIST ROOMS Tate and National Galleries of Scotland

1953–62

CLEARED

5

support: 391 × 474 mm frame: 826 × 623 × 29 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "This painting has been made on a piece of acetate using two types of oil, including the 'Braunkreuz' oil Beuys often used. Literally translated as 'Brown cross', this was a household paint commonly used for walls and floors. It was frequently used by the artist from the late 1950s when he wished to paint with a neutral material with sculptural qualities. The female figures in Beuys's work are usually shown in active positions, while male figures are static. Here, the two figures are crouching or squatting, as if ready to spring into action. The style of both the figures and the background also reflects Beuys's association of women with fluidity and movement.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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null

false

92 726 6739 572 221 189 19508 8577 30 167

false

artwork

Graphite and watercolour on card

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3,466

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999967, "shortTitle": "National Heritage Memorial Fund" }, { "id": 999999968, "shortTitle": "Art Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,954

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

White Woman in Grass Fairy

2,008

Weisse Frau in Gras (Fairy)

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00101

{ "id": 5, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,954

[ { "archiveItemCount": 1792, "id": 92, "level": 2, "name": "actions: postures and motions", "parent_id": 91, "workCount": 7319 }, { "archiveItemCount": 0, "id": 95, "level": 2, "name": "adults", "parent_id": 91, "workCount": 20120 }, { "archiveItemCount": 5302, "id": 29, "level": 1, "name": "emotions, concepts and ideas", "parent_id": 1, "workCount": 11114 }, { "archiveItemCount": 3, "id": 2153, "level": 3, "name": "fairy", "parent_id": 138, "workCount": 34 }, { "archiveItemCount": 290, "id": 519, "level": 3, "name": "female", "parent_id": 98, "workCount": 1391 }, { "archiveItemCount": 3599, "id": 6729, "level": 2, "name": "formal qualities", "parent_id": 29, "workCount": 8855 }, { "archiveItemCount": 2, "id": 138, "level": 2, "name": "magic and occultism", "parent_id": 132, "workCount": 204 }, { "archiveItemCount": 485, "id": 98, "level": 2, "name": "nudes", "parent_id": 91, "workCount": 2084 }, { "archiveItemCount": 0, "id": 91, "level": 1, "name": "people", "parent_id": 1, "workCount": 22072 }, { "archiveItemCount": 0, "id": 132, "level": 1, "name": "religion and belief", "parent_id": 1, "workCount": 2443 }, { "archiveItemCount": 110, "id": 11845, "level": 3, "name": "silhouette", "parent_id": 6729, "workCount": 278 }, { "archiveItemCount": 811, "id": 694, "level": 3, "name": "sitting", "parent_id": 92, "workCount": 2536 }, { "archiveItemCount": 1168, "id": 167, "level": 3, "name": "woman", "parent_id": 95, "workCount": 7942 } ]

false

1

https://media.tate.org.u…R/AR00101_10.jpg

747

paper unique graphite watercolour card

[ { "artistRoomsTour": true, "dateText": "1 April 2010 – 27 September 2010", "endDate": "2010-09-27", "exhibitionLegs": [ { "dateText": "1 April 2010 – 27 September 2010", "endDate": "2010-09-27", "id": 5392, "startDate": "2010-04-01", "venueName": "Hunterian Museum and Art Gallery (Glasgow, UK)", "venueWebsiteUrl": "http://www.hunterian.gla.ac.uk" } ], "id": 4519, "startDate": "2010-04-01", "title": "ARTIST ROOMS 2010: Joseph Beuys", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "27 July 2013 – 11 January 2015", "endDate": "2015-01-11", "exhibitionLegs": [ { "dateText": "27 July 2013 – 3 November 2013", "endDate": "2013-11-03", "id": 7391, "startDate": "2013-07-27", "venueName": "Scottish National Gallery of Modern Art (Edinburgh, UK)", "venueWebsiteUrl": "http://www.nationalgalleries.org/" } ], "id": 6043, "startDate": "2013-07-27", "title": "Witches and Wicked Bodies", "type": "Loan-out" } ]

White Woman in the Grass (Fairy)

1,954

ARTIST ROOMS Tate and National Galleries of Scotland

1954

CLEARED

5

support: 193 × 122 mm frame: 673 × 540 × 29 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "In his drawings, Joseph Beuys often makes connections between humans, our environment and primitive rituals. By referring to the female figure in this drawing as a 'fairy', the artist makes reference to folklore. Beuys was greatly knowledgeable about German folk customs but he was equally interested in shamanism and the tribal magic of other cultures. His use of colour is always deliberate and significant, and in this drawing, he has suggested the woman's connection to nature by surrounding her with green grass. His use of watercolour as a medium also ties in with his depictions of women as fluid and connected with water.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "actions: postures and motions", "adults", "emotions, concepts and ideas", "fairy", "female", "formal qualities", "magic and occultism", "nudes", "people", "religion and belief", "silhouette", "sitting", "woman" ]

null

false

92 2153 519 138 98 11845 694 167

false

artwork

Graphite and watercolour on paper

[ { "append_role_to_name": false, "date": "1921–1986", "fc": "Joseph Beuys", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/joseph-beuys-747" } ]

3,467

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999967, "shortTitle": "National Heritage Memorial Fund" }, { "id": 999999968, "shortTitle": "Art Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,954

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Sculptures

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00102

{ "id": 5, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,954

[ { "archiveItemCount": 1, "id": 184, "level": 1, "name": "abstraction", "parent_id": 1, "workCount": 8614 }, { "archiveItemCount": 97, "id": 796, "level": 3, "name": "irregular forms", "parent_id": 185, "workCount": 1910 }, { "archiveItemCount": 1, "id": 185, "level": 2, "name": "non-representational", "parent_id": 184, "workCount": 6160 } ]

false

1

https://media.tate.org.u…R/AR00102_10.jpg

747

paper unique graphite watercolour

[ { "artistRoomsTour": false, "dateText": "1 May 2012 – 31 October 2012", "endDate": "2012-10-31", "exhibitionLegs": [ { "dateText": "1 May 2012 – 31 October 2012", "endDate": "2012-10-31", "id": 6417, "startDate": "2012-05-01", "venueName": "The Israel Museum (Jerusalem, Israel)", "venueWebsiteUrl": "http://www.imj.org.il" } ], "id": 5239, "startDate": "2012-05-01", "title": "Joseph Beuys - Tadeusz Kantor: Memory", "type": "Loan-out" } ]

Sculptures

1,954

ARTIST ROOMS Tate and National Galleries of Scotland

1954

CLEARED

5

support (upper): 245 × 347 mm support (lower): 241 × 346 mm frame: 674 × 541 × 39 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "This is a two-part work on paper, whose title suggests it is either a depiction of sculptures or a plan for sculptures to be made. Beuys used his drawings as a way of setting out ideas before making sculptures, referring to them as a 'reservoir that I can get important impulses from'. The long shapes recall the solid, static symbols the artist used to represent masculinity. They are painted in iron chloride, a chemical the artist often combined with watercolour in his paintings, which has a distinctive orange-brown colour.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstraction", "irregular forms", "non-representational" ]

null

false

796 185

false

artwork

Watercolour on card

[ { "append_role_to_name": false, "date": "1921–1986", "fc": "Joseph Beuys", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/joseph-beuys-747" } ]

3,468

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999967, "shortTitle": "National Heritage Memorial Fund" }, { "id": 999999968, "shortTitle": "Art Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,955

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Hearts Revolutionaries Passage Planets Future

2,008

Passage der Zukunftplanetoiden

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00103

{ "id": 5, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,955

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false

1

https://media.tate.org.u…R/AR00103_10.jpg

747

paper unique watercolour card

[ { "artistRoomsTour": true, "dateText": "4 July 2009 – 27 September 2009", "endDate": "2009-09-27", "exhibitionLegs": [ { "dateText": "4 July 2009 – 27 September 2009", "endDate": "2009-09-27", "id": 5117, "startDate": "2009-07-04", "venueName": "De La Warr Pavilion (Bexhill on Sea, UK)", "venueWebsiteUrl": "http://www.dlwp.com/" } ], "id": 4293, "startDate": "2009-07-04", "title": "ARTIST ROOMS 2009: Joseph Beuys", "type": "Loan-out" } ]

Hearts of the Revolutionaries: Passage of the Planets of the Future

1,955

ARTIST ROOMS Tate and National Galleries of Scotland

1955

CLEARED

5

support: 295 × 490 mm frame: 825 × 624 × 39 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "The choice of red for this painting would seem like an obvious one, reflecting both the heart and the virtues of honour and courage of the revolutionary in the title of the piece. Red also represents socialism, a belief of Beuys which became central to his later work. However, the colour red is used sparingly and symbolically in the artist's work, and here it makes a bold statement on life, vitality and the future. The inclusion of the round shape to represent a planet brings an astronomical element into the work.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstraction", "astronomy", "birth to death", "body", "emotions and human qualities", "emotions, concepts and ideas", "geometric", "government and politics", "heart", "irregular forms", "life - red", "non-representational", "people", "planet", "revolution", "society", "symbols and personifications", "vitality" ]

null

false

69 164 93 31 226 155 3598 796 17957 185 2542 8806 17956

false

artwork

Graphite on paper

[ { "append_role_to_name": false, "date": "1921–1986", "fc": "Joseph Beuys", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/joseph-beuys-747" } ]

3,469

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999967, "shortTitle": "National Heritage Memorial Fund" }, { "id": 999999968, "shortTitle": "Art Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,956

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Observation on Cat

2,008

Beobachtung fur Katze

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00104

{ "id": 5, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,956

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false

1

https://media.tate.org.u…R/AR00104_10.jpg

747

paper unique graphite

[]

Observation on the Cat

1,956

ARTIST ROOMS Tate and National Galleries of Scotland

1956

CLEARED

5

support: 316 × 241 mm frame: 674 × 541 × 29 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "Amongst the flurry of pencil lines in this drawing, we can make out parts of a cat – claws, head, ears, teeth and limbs appear, with a long striped body at the bottom corner. Beuys's approach to drawing has been compared to Leonardo da Vinci in its investigative manner. Like Leonardo, Beuys had the enquiring mind of a scientist and the same interest in understanding the natural world. This work shows the artist's exploration of the shape of his subject, building form by assembling shapes. It shows how Beuys used drawing as a way of exploring the world, as well as capturing his ideas.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstraction", "animals: mammals", "cat", "emotions, concepts and ideas", "figure", "formal qualities", "from recognisable sources", "gestural", "movement" ]

null

false

67 775 221 189 19508 6744

false

artwork

Graphite and watercolour on paper

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3,470

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999967, "shortTitle": "National Heritage Memorial Fund" }, { "id": 999999968, "shortTitle": "Art Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,958

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Actresses

2,008

Aktricen

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00105

{ "id": 5, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,958

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false

1

https://media.tate.org.u…R/AR00105_10.jpg

747

paper unique graphite watercolour

[]

Actresses

1,958

ARTIST ROOMS Tate and National Galleries of Scotland

1958

CLEARED

5

support: 207 × 290 mm frame: 674 × 540 × 30 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "Beuys's use of the term 'actresses' in his drawings of women makes reference to the idea of performance, in the same way as the artist created the persona of a shaman for himself. Indeed, in some of his performances ('actions') Beuys assumed the role of the female principle. This drawing is dominated by three upright female figures who stride confidently across the image, with the body of a naked woman, drawn in pencil, forming a backdrop. Although there are four figures on the page, each one is isolated from the others and not individualised in any way – a typical feature of Beuys's depictions of women in the 1950s.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "actions: postures and motions", "actor", "adults", "arts and entertainment", "female", "mysticism", "nudes", "people", "religion and belief", "shamanism", "spread-eagled", "walking", "woman", "work and occupations" ]

null

false

92 1662 118 519 444 98 3026 4671 271 167

false

artwork

Oil paint and gouache on paper

[ { "append_role_to_name": false, "date": "1921–1986", "fc": "Joseph Beuys", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/joseph-beuys-747" } ]

3,471

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999967, "shortTitle": "National Heritage Memorial Fund" }, { "id": 999999968, "shortTitle": "Art Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,958

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Frauendarstellung

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00106

{ "id": 5, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,958

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false

1

https://media.tate.org.u…R/AR00106_10.jpg

747

paper unique oil paint gouache

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Untitled (Frauendarstellung)

1,958

ARTIST ROOMS Tate and National Galleries of Scotland

1958

CLEARED

5

support: 428 × 301 mm frame: 674 × 541 × 28 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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null

false

221 189 19508 167

false

artwork

Oil paint and watercolour on paper

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3,472

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1,958

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Clan

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00107

{ "id": 5, "meta": { "type": "art.Classification" } }

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Joseph Beuys

1,958

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false

1

https://media.tate.org.u…R/AR00107_10.jpg

747

paper unique oil paint watercolour

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Clan

1,958

ARTIST ROOMS Tate and National Galleries of Scotland

1958

CLEARED

5

support: 207 × 285 mm frame: 674 × 540 × 39 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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[ "abstract concepts", "abstraction", "animal / human", "animals: fantastic", "animals: mammals", "creativity - hare", "figure", "from recognisable sources", "hare", "symbols and personifications" ]

null

false

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false

artwork

Graphite on card

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3,473

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1,958

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Blacksmith II

2,008

Schmied II

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00108

{ "id": 5, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,958

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false

1

https://media.tate.org.u…R/AR00108_10.jpg

747

paper unique graphite card

[]

Blacksmith II

1,958

ARTIST ROOMS Tate and National Galleries of Scotland

1958

CLEARED

5

support: 210 × 297 mm frame: 675 × 541 × 28 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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null

false

92 4427 278 124 480 195 98 86 271

false

artwork

Graphite and oil paint on paper

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3,474

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1,959

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Witches Spitting Fire

2,008

Hexen Feuer Speiend

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00109

{ "id": 5, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,959

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false

1

https://media.tate.org.u…R/AR00109_10.jpg

747

paper unique graphite oil paint

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Witches Spitting Fire

1,959

ARTIST ROOMS Tate and National Galleries of Scotland

1959

CLEARED

5

support: 207 × 297 mm frame: 670 × 540 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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null

false

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false

artwork

Graphite on board on oil paint on paper

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3,475

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1,959

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Battery

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00110

{ "id": 5, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,959

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false

1

https://media.tate.org.u…R/AR00110_10.jpg

747

paper unique graphite board oil paint

[ { "artistRoomsTour": true, "dateText": "4 July 2009 – 27 September 2009", "endDate": "2009-09-27", "exhibitionLegs": [ { "dateText": "4 July 2009 – 27 September 2009", "endDate": "2009-09-27", "id": 5117, "startDate": "2009-07-04", "venueName": "De La Warr Pavilion (Bexhill on Sea, UK)", "venueWebsiteUrl": "http://www.dlwp.com/" } ], "id": 4293, "startDate": "2009-07-04", "title": "ARTIST ROOMS 2009: Joseph Beuys", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "1 April 2010 – 27 September 2010", "endDate": "2010-09-27", "exhibitionLegs": [ { "dateText": "1 April 2010 – 27 September 2010", "endDate": "2010-09-27", "id": 5392, "startDate": "2010-04-01", "venueName": "Hunterian Museum and Art Gallery (Glasgow, UK)", "venueWebsiteUrl": "http://www.hunterian.gla.ac.uk" } ], "id": 4519, "startDate": "2010-04-01", "title": "ARTIST ROOMS 2010: Joseph Beuys", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "5 June 2015 – 6 September 2015", "endDate": "2015-09-06", "exhibitionLegs": [ { "dateText": "5 June 2015 – 6 September 2015", "endDate": "2015-09-06", "id": 9688, "startDate": "2015-06-05", "venueName": "Timespan (Sutherland, UK)", "venueWebsiteUrl": "http://www.timespan.org.uk/" } ], "id": 7964, "startDate": "2015-06-05", "title": "ARTIST ROOMS 2015: Joseph Beuys", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "13 October 2017 – 21 January 2018", "endDate": "2018-01-21", "exhibitionLegs": [ { "dateText": "13 October 2017 – 21 January 2018", "endDate": "2018-01-21", "id": 11192, "startDate": "2017-10-13", "venueName": "Leeds Art Gallery (Leeds, UK)", "venueWebsiteUrl": "http://www.leeds.gov.uk/artgallery/" } ], "id": 9216, "startDate": "2017-10-13", "title": "ARTIST ROOMS 2017: Joseph Beuys", "type": "Loan-out" } ]

Battery

1,959

ARTIST ROOMS Tate and National Galleries of Scotland

1959

CLEARED

5

support: 240 × 252 mm frame: 540 × 670 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "This collage refers to the artist's interest in sources of energy and power. A battery can be either a portable source of energy, or an instrument that converts chemical to electrical energy. Used as a motif, the battery would have appealed to the artist for its capacity to store or transform energy and in its ability to convert one type of energy to another. Beuys later used the concept of the battery in his series of sculptural works called 'Fonds'.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstraction", "battery", "electrical appliances", "emotions, concepts and ideas", "energy", "geometric", "non-representational", "objects", "universal concepts" ]

null

false

2015 81 572 226 185 30

false

artwork

Graphite on paper

[ { "append_role_to_name": false, "date": "1921–1986", "fc": "Joseph Beuys", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/joseph-beuys-747" } ]

3,476

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999967, "shortTitle": "National Heritage Memorial Fund" }, { "id": 999999968, "shortTitle": "Art Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,959

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Monument to Stag

2,008

Hirschdenkmal

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00111

{ "id": 5, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,959

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false

1

https://media.tate.org.u…R/AR00111_10.jpg

747

paper unique graphite

[]

Monument to the Stag

1,959

ARTIST ROOMS Tate and National Galleries of Scotland

1959

CLEARED

5

support: 429 × 395 mm frame: 674 × 541 × 28 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "Although the imagery of this drawing is difficult to decipher, the stag is an animal which held a particular mystical power for Beuys. The artist would refer to himself as the 'stag leader'. With his work steeped in Germanic tradition and legend, Beuys's use of the stag references the animal as the traditional emblem of the Northern forest, as well as its role as a spirit guide in Celtic mythology and the crucified Christ in Christianity. The stag is a symbol of masculine power, but also has a feminine aspect in the annual shedding of its antlers, symbolising fertility.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "architecture", "monument", "monuments" ]

null

false

5931 21

false

artwork

3 works on paper, oil paint and watercolour

[ { "append_role_to_name": false, "date": "1921–1986", "fc": "Joseph Beuys", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/joseph-beuys-747" } ]

3,477

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999967, "shortTitle": "National Heritage Memorial Fund" }, { "id": 999999968, "shortTitle": "Art Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,959

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Electricity

2,008

die Electrizitat

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00112

{ "id": 5, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,959

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false

1

https://media.tate.org.u…R/AR00112_10.jpg

747

paper unique 3 works oil paint watercolour

[ { "artistRoomsTour": true, "dateText": "1 April 2010 – 27 September 2010", "endDate": "2010-09-27", "exhibitionLegs": [ { "dateText": "1 April 2010 – 27 September 2010", "endDate": "2010-09-27", "id": 5392, "startDate": "2010-04-01", "venueName": "Hunterian Museum and Art Gallery (Glasgow, UK)", "venueWebsiteUrl": "http://www.hunterian.gla.ac.uk" } ], "id": 4519, "startDate": "2010-04-01", "title": "ARTIST ROOMS 2010: Joseph Beuys", "type": "Loan-out" } ]

Electricity

1,959

ARTIST ROOMS Tate and National Galleries of Scotland

1959

CLEARED

5

support (upper): 238 × 336 mm support (centre): 238 × 338 mm support (lower): 238 × 337 mm frame: 782 × 619 × 44 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "The lower section of this three-part work appears to be a schematic drawing of a turbine. It may be the item which is intended to be fitted inside the box at the centre of the work, to power the propeller on the right. Beuys used the principle of electricity and machines in some of his sculpture, so this work may anticipate a later sculpture. Electricity was, for Beuys, part of the much larger issue of energy and, in particular, of ways in which the key issue of human energy (creativity) could be harnessed.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstraction", "creativity", "electricity", "emotions and human qualities", "emotions, concepts and ideas", "energy", "from recognisable sources", "man-made", "natural phenomena", "objects", "tools and machinery", "turbine", "universal concepts" ]

null

false

6767 2014 31 572 189 222 70 86 30

false

artwork

Printed paper and oil paint on paper

[ { "append_role_to_name": false, "date": "1921–1986", "fc": "Joseph Beuys", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/joseph-beuys-747" } ]

3,478

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1,961

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Girl Pushing Against Elastic Sculpture

2,008

Madchen drucht elastische Plastik ein

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00113

{ "id": 5, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,961

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false

1

https://media.tate.org.u…R/AR00113_10.jpg

747

paper unique printed oil paint

[]

Girl Pushing Against Elastic Sculpture

1,961

ARTIST ROOMS Tate and National Galleries of Scotland

1961

CLEARED

5

support: 238 × 339 mm frame: 674 × 540 × 29 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "The 'elastic sculpture' could refer to a felt sculpture which takes on the curves of the female figure. However, the woman who pushes against the large mass seems to almost be absorbed into it and overwhelmed by it, as it edges her out of the picture. The collaged element of this work is a diary page, which has been covered with the same Braunkreuz oil paint used for the painting. The inclusion of the page brings an aspect of the everyday to the image.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstraction", "actions: processes and functions", "adults", "diary", "diary", "emotions, concepts and ideas", "female", "figure", "fine arts and music", "formal qualities", "from recognisable sources", "man-made", "nudes", "objects", "people", "pushing", "reading, writing, printed matter", "sculpture", "woman" ]

null

false

175 8574 40616 519 221 80 189 222 98 3410 174 2648 167

false

artwork

Oil paint and watercolour on paper

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3,479

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1,959

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Pregnant Woman with Swan

2,008

Schwangere und Schwan

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00114

{ "id": 5, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,959

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false

1

https://media.tate.org.u…R/AR00114_10.jpg

747

paper unique oil paint watercolour

[ { "artistRoomsTour": true, "dateText": "4 July 2009 – 27 September 2009", "endDate": "2009-09-27", "exhibitionLegs": [ { "dateText": "4 July 2009 – 27 September 2009", "endDate": "2009-09-27", "id": 5117, "startDate": "2009-07-04", "venueName": "De La Warr Pavilion (Bexhill on Sea, UK)", "venueWebsiteUrl": "http://www.dlwp.com/" } ], "id": 4293, "startDate": "2009-07-04", "title": "ARTIST ROOMS 2009: Joseph Beuys", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "1 April 2010 – 27 September 2010", "endDate": "2010-09-27", "exhibitionLegs": [ { "dateText": "1 April 2010 – 27 September 2010", "endDate": "2010-09-27", "id": 5392, "startDate": "2010-04-01", "venueName": "Hunterian Museum and Art Gallery (Glasgow, UK)", "venueWebsiteUrl": "http://www.hunterian.gla.ac.uk" } ], "id": 4519, "startDate": "2010-04-01", "title": "ARTIST ROOMS 2010: Joseph Beuys", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "22 March 2013 – 23 June 2013", "endDate": "2013-06-23", "exhibitionLegs": [ { "dateText": "22 March 2013 – 7 July 2013", "endDate": "2013-07-07", "id": 7494, "startDate": "2013-03-22", "venueName": "Middlesbrough Institute of Modern Art (Middlesbrough, UK)", "venueWebsiteUrl": "http://www.visitmima.com/" } ], "id": 5813, "startDate": "2013-03-22", "title": "Tracing the Century", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "13 October 2017 – 21 January 2018", "endDate": "2018-01-21", "exhibitionLegs": [ { "dateText": "13 October 2017 – 21 January 2018", "endDate": "2018-01-21", "id": 11192, "startDate": "2017-10-13", "venueName": "Leeds Art Gallery (Leeds, UK)", "venueWebsiteUrl": "http://www.leeds.gov.uk/artgallery/" } ], "id": 9216, "startDate": "2017-10-13", "title": "ARTIST ROOMS 2017: Joseph Beuys", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "3 May 2023 – 6 August 2023", "endDate": "2023-08-06", "exhibitionLegs": [ { "dateText": "3 May 2023 – 6 August 2023", "endDate": "2023-08-06", "id": 13961, "startDate": "2023-05-03", "venueName": "Nasjonalmuseet (Oslo, Norway)", "venueWebsiteUrl": null } ], "id": 11532, "startDate": "2023-05-03", "title": "Louise Bourgeois: Imaginary Conversations", "type": "Loan-out" } ]

Pregnant Woman with Swan

1,959

ARTIST ROOMS Tate and National Galleries of Scotland

1959

CLEARED

5

support: 276 × 214 mm frame: 674 × 540 × 29 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "The tiny swan in this painting looks as if it is swimming serenely inside the woman, replacing the foetus inside her pregnant body. The drawing combines male and female elements, with the phallic nature of the swan's neck. Beuys had been fascinated with swans since childhood. A sculpture of a large golden swan sat on top of the tower of Schwanenburg castle (Swan Castle) in his home town of Cleves, and was visible from his bedroom window while he was growing up. With his interest in language, the artist would also have delighted in the similarity between the German words for pregnant woman (Schwangere) and swan (Schwan).\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstraction", "adults", "animals: birds", "birth to death", "emotions, concepts and ideas", "female", "figure", "formal qualities", "from recognisable sources", "nudes", "people", "pregnancy", "procreation", "silhouette", "society", "swan", "woman" ]

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artwork

Oil paint on typescript on paper

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3,480

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1,963

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Play 17

2,008

Stück 17

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00115

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7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,963

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Play 17 consists of a single sheet of cream writing paper onto which has been typed the title, stage directions and cast list for a play in German. It is dated 1963 by the artist Joseph Beuys on the verso; on the recto there are no handwritten elements or a signature, only a small brown triangle in the top right corner of the page. The brown substance used for the triangle is Beuys’s Braunkreuz, a type of common household oil paint first used by the artist in 1958, the name ‘Brown cross’ deriving from the motif onto which he first applied the paint (Seymour 1983, p.21). Its reddish-brown hue is reminiscent of rust, dried blood, and dirt, while the name evokes symbols associated with such far-ranging ideologies as Christianity, Nazism, and occultism. It is featured in many of Beuys’s drawings of the 1960s, from small interventions such as this triangle, to flat opaque coatings such as those seen on top of newspapers in Untitled 1963–4 (Tate AR00660) and gestural painterly sweeps, for example the main element in the drawing Felt Action 1963 (Tate AR00700). In Play 17, the slightly irregular hand-drawn triangle points downwards towards the ‘action’ of the play. Its shape relates to the recurrence in Beuys’s sculptural work of the triangle, particularly triangular wedges of various materials that were installed in the corners of rooms, such as Fat Corner 1960 and Felt Corner 1963, which combined the rigours of geometry with the incessant physicality of the artist’s signature materials.

false

1

https://media.tate.org.u…R/AR00115_10.jpg

747

paper unique oil paint typescript

[]

Play 17

1,963

ARTIST ROOMS Tate and National Galleries of Scotland

1963

CLEARED

5

support: 280 × 215 mm frame: 674 × 541 × 28 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nPlay 17 consists of a single sheet of cream writing paper onto which has been typed the title, stage directions and cast list for a play in German. It is dated 1963 by the artist Joseph Beuys on the verso; on the recto there are no handwritten elements or a signature, only a small brown triangle in the top right corner of the page. The brown substance used for the triangle is Beuys’s Braunkreuz, a type of common household oil paint first used by the artist in 1958, the name ‘Brown cross’ deriving from the motif onto which he first applied the paint (Seymour 1983, p.21). Its reddish-brown hue is reminiscent of rust, dried blood, and dirt, while the name evokes symbols associated with such far-ranging ideologies as Christianity, Nazism, and occultism. It is featured in many of Beuys’s drawings of the 1960s, from small interventions such as this triangle, to flat opaque coatings such as those seen on top of newspapers in Untitled 1963–4 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-untitled-ar00660\" title=\"View the details of this artwork\">AR00660</a>) and gestural painterly sweeps, for example the main element in the drawing Felt Action 1963 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-felt-action-ar00700\" title=\"View the details of this artwork\">AR00700</a>). In Play 17, the slightly irregular hand-drawn triangle points downwards towards the ‘action’ of the play. Its shape relates to the recurrence in Beuys’s sculptural work of the triangle, particularly triangular wedges of various materials that were installed in the corners of rooms, such as Fat Corner 1960 and Felt Corner 1963, which combined the rigours of geometry with the incessant physicality of the artist’s signature materials.\n\nPlay 17 begins with the two-line description ‘in a room with / 4 fat corners acting together’. This is followed by a long list of characters in various numbers. As the curator Ann Temkin has explained: ‘A variety of animals, insects, birds, and fish make up the company of actors, dominated by nine stags and five Easter rabbits.’ (Temkin and Rose 1993, p.51.) Within the list, the animals do not appear to be arranged in any logical way such as by size or geography; for example the mussel precedes the sheep and the lion is followed by the housefly and dung beetle. The accumulation of this fantastic menagerie evokes an imaginative world that belies the pared-down aesthetic of typewritten script. The writer and curator Ann Seymour has explored such complexities in the artist’s works on paper, writing:\n\n<blockquote>Beuys’s drawings may look like drawings or watercolours in the conventional sense … but can also look rather different. They may take the form of lists, for example of fascinating groups of things botanical, medicinal, even of the materials we throw away … Another use of this listing approach has been in Beuys’s scores for plays or actions such as One Second Play 1961 and Play 17 1963. (Seymour 1983, p.7.)</blockquote>\nBy situating these list-format plays within Beuys’s drawing oeuvre, Seymour highlights the heterogeneity of the artist’s practice. Play 17 certainly explores the boundaries between language, drawing and performance in its conceptual approach to a play too fantastical ever to be performed. \nAlthough Play 17 is an unique work on paper, the text and formatting of this original sheet was used to produce several handwritten and further print versions in multiple editions many years later, for example Play 17 1972, offset on brown paper (Korff Collection, Ilmmünster, reproduced in Malz and Ackermaan 2010, p.128). The sparse yet poetic stage directions of Play 17 conclude with an elliptical statement: ‘The animals vanish as soon as / the Western man enters / simultaneously projected on / the room’s north wall / the Eastern man.’ Ann Temkin has also interpreted this final segment: \n\n<blockquote>\nPlay 17, which takes the terms Western and Eastern man from Rudolf Steiner, exemplifies Beuys’s belief that European culture has divorced itself from the world of nature; it holds up a mythic East as an alternative model. Beuys uses animals both metonymically and metaphorically here. They stand for the natural environment as a whole but also signal the animal aspect of human nature: the instinctual or sensory capacities not related to intellect or conscious will. (Temkin and Rose 1993, pp.51–2.) </blockquote>\n\nPlay 17 therefore aligns Beuys’s poetic and metaphorical interest in nature to a tentatively political agenda that was only just beginning to emerge in his artistic practice. As Temkin goes on to say: ‘Play 17 demonstrates Beuys’s ongoing concern with the spiritual and social links between humans and animals. When he founded the German Student Party at the Düsseldorf Academy in 1967, Beuys described it as the largest party in the world, admitting that most of its members were animals.’ (Temkin and Rose 1993, p.52.) There are further works on paper from the latter half of the 1960s belonging to ARTIST ROOMS that relate to the political concerns first alluded to in Play 17, in particular A Party for Animals 1969 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-a-party-for-animals-ar00680\" title=\"View the details of this artwork\">AR00680</a>) and German Student Party 1967 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-german-students-party-ar00677\" title=\"View the details of this artwork\">AR00677</a>) which are direct manifestations of Beuys’s new political direction in his art. \n\nFurther reading\n Anne Seymour, ‘The Drawings of Joseph Beuys’, in Joseph Beuys Drawings, exhibition catalogue, City Art Galleries, Leeds 1983, pp.7–26, reproduced pl.92. Ann Temkin and Bernice Rose (eds.), Thinking is Form: The Drawings of Joseph Beuys, exhibition catalogue, Philadelphia Museum of Art and The Museum of Modern Art, New York 1993, pp.50–2, reproduced p.195. Marion Ackermann and Isabelle Malz (eds.), Joseph Beuys, Parallel Processes, exhibition catalogue, Kunstsammlung Nordrhein-Westfalen, Düsseldorf 2010.\nStephanie Straine January 2011\n</div>\n", "display_name": "Summary", "publication_date": "2012-06-22T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "Play 17 is one of several short plays Beuys wrote in the early 1960s. As seen here, most consist of a list of characters with a few lines of instruction. The first line shows that the play is set 'In a room with 4 fat corners acting together'. This is followed by a list of animals and insects and concludes with the stage directions; 'The animals vanish as soon as the Western man enters. Simultaneously projected on the room's north wall the 'Eastern man''. This reflects the artist's belief that Western culture had separated itself from nature, unlike Eastern culture. The play's importance to Beuys is shown by the fact it exists in several handwritten versions and four multiple editions. It was written as a scenario for an 'action'.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstraction", "ecology", "leisure and pastimes", "music and entertainment", "non-representational", "social comment", "society", "text", "theatre", "western society" ]

null

false

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artwork

4 works on paper, oil paint and fat, on board

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3,481

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1,964

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Felt Sculpture

2,008

Für Filzplastik

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00116

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7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,964

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https://media.tate.org.u…R/AR00116_10.jpg

747

paper unique 4 works oil paint fat board

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For Felt Sculpture

1,964

ARTIST ROOMS Tate and National Galleries of Scotland

1964

CLEARED

5

support (lower left): 257 × 377 mm support (lower centre): 260 × 378 mm support (lower right): 250 × 378 mm support (upper): 398 × 279 mm frame: 760 × 1250 × 35 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "This distinctive image of a rectangle with an angled shape at the bottom is seen in several of Beuys's drawings. Rather than simply being just an abstract shape, the image is intended to create a sense of warmth, as the viewer imagines the chunky pieces of felt. Fat has also been used to make this drawing, the other element Beuys liked to work with. Like felt, fat conjures up a sensation of insulation and warmth. Both materials also refer to the body, as felt is made by compressing fibres or hair.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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null

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164 225 163 226 1995 9663 185 8056 9024

false

artwork

Graphite, oil paint and fat on paper

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3,482

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1,964

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Therapeuticum

2,008

Therapeuticum

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00117

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Joseph Beuys

1,964

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1

https://media.tate.org.u…R/AR00117_10.jpg

747

paper unique graphite oil paint fat

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Therapeuticum

1,964

ARTIST ROOMS Tate and National Galleries of Scotland

1964

CLEARED

5

support: 294 × 209 mm frame: 674 × 541 × 39 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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[ "abstraction", "defacement", "emotions, concepts and ideas", "environment / nature", "formal qualities", "gestural", "non-representational", "plant", "plants and flowers", "text", "universal concepts" ]

null

false

11714 1596 227 185 2369 72 445 30

false

artwork

Graphite, ink and oil paint on paper

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3,483

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1,964

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Tunnel Cathode Rays FeltRoom Action

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00118

{ "id": 5, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,964

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Tunnel (Cathode Rays) Felt-Room Action is a small work on paper by the German artist Joseph Beuys that combines sketches and handwritten notes with paint. The piece of paper appears to have been torn from a sketchbook as it has a rough and ridged left edge. The discoloured and stained cream paper contains a jumble of the artist’s notes, written in both pencil and ink, with a large mass of dark grey oil paint obscuring the majority of the page. This defacement leaves no coherent or complete trace of the artist’s thoughts visible on the page. The oil paint, which is almost black in appearance, has been applied in very thick, swirling brushstrokes, so that it has clumped on the paper surface, accumulating little bubbles and dried paint particles. Remaining visible at the margins of the sheet is the title word ‘Tunnel’, written in English at the very top of the drawing, while beneath the painted mass is written in ink the German word ‘die Wahrheit’, meaning ‘truth’. In pencil in the bottom section of the sheet there are little drawings, possibly of roots and branches. Underneath the paint there are two horizontal pencil lines that seem to indicate that the space of the page was initially organised. The gesture of obscuring a page of notations and diagrams appears to be an act of concealment by the artist. The covering up and cancellation of this kind of raw information could suggest that these notes were for an action that never took place or that, except for a few intriguing drawings, the artist wished to delete.

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Tunnel (Cathode Rays) Felt-Room Action

1,964

ARTIST ROOMS Tate and National Galleries of Scotland

1964

CLEARED

5

support: 236 × 195 mm frame: 674 × 542 × 27 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nTunnel (Cathode Rays) Felt-Room Action is a small work on paper by the German artist Joseph Beuys that combines sketches and handwritten notes with paint. The piece of paper appears to have been torn from a sketchbook as it has a rough and ridged left edge. The discoloured and stained cream paper contains a jumble of the artist’s notes, written in both pencil and ink, with a large mass of dark grey oil paint obscuring the majority of the page. This defacement leaves no coherent or complete trace of the artist’s thoughts visible on the page. The oil paint, which is almost black in appearance, has been applied in very thick, swirling brushstrokes, so that it has clumped on the paper surface, accumulating little bubbles and dried paint particles. Remaining visible at the margins of the sheet is the title word ‘Tunnel’, written in English at the very top of the drawing, while beneath the painted mass is written in ink the German word ‘die Wahrheit’, meaning ‘truth’. In pencil in the bottom section of the sheet there are little drawings, possibly of roots and branches. Underneath the paint there are two horizontal pencil lines that seem to indicate that the space of the page was initially organised. The gesture of obscuring a page of notations and diagrams appears to be an act of concealment by the artist. The covering up and cancellation of this kind of raw information could suggest that these notes were for an action that never took place or that, except for a few intriguing drawings, the artist wished to delete. \nThe mention of ‘cathode rays’ in the work’s title suggests a link to television sets, which use cathode ray tubes to create the onscreen image. (Beuys would perform an action in Copenhagen in 1966 entitled Felt TV, later re-staged and broadcast on German television in 1970.) The type of dark grey oil paint in this work has been used elsewhere in Beuys’s drawing practice to suggest felt, one of the artist’s signature materials (see for example Felt Sculptures 1964, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-felt-sculptures-ar00661\" title=\"View the details of this artwork\">AR00661</a>). The paint essentially encases the artist’s words, diagrams and notations and, like felt’s noise-cancelling properties, ‘muffles’ the page’s contents to achieve a state of mute cancellation. The artist’s materially inventive approach to drawing links the works on paper to every other aspect of Beuys’s art, including sculpture, installation, performance, or his political actions, teaching and lecturing, which all feature an interrelated set of materials and gestures developed by the artist over many decades. Beuys explained in a 1984 interview that: ‘My thinking on drawing as a special form of materialized thought is this: they are the beginning of changing the material condition of the world, through sculpture, architecture, mechanics, or engineering, for instance, where drawing ends not only with the traditional artist’s concept.’ (Quoted in Rose 1993, p.17.) \nWhile Tunnel (Cathode Rays) Felt-Room Action has a very specific and detailed title, in fact this drawing has no obvious or direct connection to any documented ‘action’ performed by the artist. Despite this, 1964 was a crucial year for Beuys’s development of his public performances, with his action Kukei/Akopee-nein/Brown Cross/Fat Corners/Model Fat Corners at the Festival for New Art in Aachen, West Germany on 20 July 1964 marking the beginning of his ascendancy to worldwide fame as an artist. This event is notorious for the interruption of Beuys’s performance by right-wing students, and its descent into violence with police arrests at the scene. \nThe curator Anne Seymour has clarified the artist’s approach to drawing, writing: ‘Although the appearance of a drawing is not of first importance to Beuys, its colour or substance are likely to have some sort of relationship with its subject or meaning. Beuys uses materials in drawing very much as substance, and in ways comparable to how he would use them on a much larger three-dimensional scale.’ (Seymour 1983, p.20.) Related to this observation is the art historian Maja Naef’s statement that: ‘With Beuys, the space of drawing in his oeuvre is larger than the corpus of his drawings in the strict sense in that it also encompasses archives, broadcasts, performances and installations, which belonged to the scene of drawing as Beuys understood it.’ (Naef 2010, p.337.) Acknowledging this conceptual overlap between different media is crucial to understanding many of the artist’s works on paper, including this work, that appear as wilfully impenetrable and mysterious objects, while nonetheless hinting at multiple influences and interpretative possibilities.\n\nFurther reading\n Anne Seymour, ‘The Drawings of Joseph Beuys’, in Joseph Beuys Drawings, exhibition catalogue, City Art Galleries, Leeds 1983, pp.7–26, reproduced pl.99. Bernice Rose, ‘Thinking is Form: The Drawings of Joseph Beuys’, MoMA, no.13, Winter 1993, pp.16–23. Maja Naef, ‘Beuys, Drawing’, in Marion Ackermann and Isabelle Malz (eds.), Joseph Beuys, Parallel Processes, exhibition catalogue, Kunstsammlung Nordrhein-Westfalen, Düsseldorf 2010, pp.336–48.\nStephanie Straine March 2011\n</div>\n", "display_name": "Summary", "publication_date": "2012-06-22T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "As elsewhere in Beuys's drawings, here we see a sheet of notes in pencil and ink which have been obscured by thick sweeps of dark grey oil paint. This is frustrating for the viewer as we can see only the title and a few glimpses of what is written on the page, yet the covering of paint was a deliberate act by Beuys. It may have been his intention for the paint to 'absorb' the sentiments on the page. The work does not appear to relate to an 'action' which the artist performed, but may be a plan for an intended 'action'.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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Brown Environment

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Für Braun Raum

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00119

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Joseph Beuys

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ARTIST ROOMS Tate and National Galleries of Scotland

1964

CLEARED

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support (left): 360 × 278 mm support (right): 363 × 233 mm frame: 830 × 630 × 45 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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Brown Environment Giant Vessels

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[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00120

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Joseph Beuys

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For Brown Environment: Giant Vessels

1,964

ARTIST ROOMS Tate and National Galleries of Scotland

1964

CLEARED

5

support: 766 × 741 mm frame: 850 × 810 × 48 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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artwork

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Houses Shaman

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00121

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Joseph Beuys

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Houses of the Shaman

1,965

ARTIST ROOMS Tate and National Galleries of Scotland

1965

CLEARED

5

support (left): 359 × 259 mm support (right): 353 × 255 mm frame: 825 × 623 × 39 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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artwork

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Dwarf SelfPortrait

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00122

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Joseph Beuys

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The pencil drawing Dwarf (Self-Portrait) 1965 is both a self-portrait of the artist and a representation of the dwarf king Alberich, the central character from the opera cycle Der Ring des Nibelungen (1848–74) by the German composer Richard Wagner (1813–1883). This small work was rapidly sketched in pencil on white paper, apparently taken from a sketchbook, given its torn left edge. The figure occupies the right side of the page while the left side is empty, apart from the word ‘ZWERG’ (‘dwarf’ in German), written in capital letters in the top left corner. The drawing is also signed, dated and titled on its verso.

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paper unique graphite

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Dwarf (Self-Portrait)

1,965

ARTIST ROOMS Tate and National Galleries of Scotland

1965

CLEARED

5

support: 296 × 209 mm frame: 674 × 540 × 30 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThe pencil drawing Dwarf (Self-Portrait) 1965 is both a self-portrait of the artist and a representation of the dwarf king Alberich, the central character from the opera cycle Der Ring des Nibelungen (1848–74) by the German composer Richard Wagner (1813–1883). This small work was rapidly sketched in pencil on white paper, apparently taken from a sketchbook, given its torn left edge. The figure occupies the right side of the page while the left side is empty, apart from the word ‘ZWERG’ (‘dwarf’ in German), written in capital letters in the top left corner. The drawing is also signed, dated and titled on its verso. \nThe dwarf figure wears a hat, and balances precariously atop a spade that has dug into the ground (suggested by a wavering pencil line). It is a pose of action and hard work but also one of delicate and perilous balance. His grimacing expression and skull-like features are reminiscent of the artist’s much-photographed visage, while the hat is unmistakably Beuys’s (see for example Avalanche 1970. Kölnischer Kunstverein 1973, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-avalanche-1970-kolnischer-kunstverein-ar00953\" title=\"View the details of this artwork\">AR00953</a>). As the writer Caroline Tisdall explained in 1979: ‘The most constantly provocative of Beuys’ emblems is his hat. He is never seen in public without it, and it has become as well known as his work. No doubt, being of felt as it is, it serves a warm and useful purpose as an insulator, like any hat on any person.’ (Tisdall 1979, pp.24–5.) The artist himself reflected upon the subject of his hat, declaring: \n\n<blockquote>When they describe it flatly as a trademark this is because the meaning is not really clear to them. That’s exactly what I meant when I talked of the shaman: it is impossible to decipher precisely the way it functions. A simple meaning would be that the hat alone can do the work and acts as a vehicle – I personally am not so important anymore. (Quoted in Tisdall 1979, p.25.) </blockquote>\nThis final comment indicates an ambivalent stance regarding his mythic artistic persona, and suggests that the way in which this small self-portrait shares its identity with that of Alberich is an intentional ploy to unsettle the singular nature of both selfhood and self-portraiture. Indeed, the manner in which the facial features are definitely suggested, yet distorted and obscured, seems to convey such an intention. The writer and curator Jeannot Simmen has described the qualities of Beuys’s drawing in terms that are particularly apt for Dwarf (Self-Portrait), writing: ‘The fragile, wandering line of his pencil seems almost afraid of injuring the paper … This line of Beuys’ is neither expressionistic nor formalistic, neither automatic nor abstract; he has transcended these contemporary categories simply by refusing to sacrifice his line’s mutability.’ (Simmen 1979, p.87.) This notion of mutability that Simmen ascribes to the artist’s drawing technique echoes the mutable identity embodied by the dwarf character. The curator Anne Seymour has explored the connection between the theories explored through Beuys’s shaman persona and this more modest self-incarnation as dwarf: \n\n<blockquote>The image of the Shaman Beuys has adopted reflects our precise place in the scheme of evolutionary development. We see ourselves and our rulers reflected in primitive societies and see to what extent the Shaman still operates in modern situation. That gives a view of our rung on the ladder. Perhaps the little drawing Dwarf, 1965, sums up Beuys’s view of this position. He regards it as a self-portrait, and it depicts a very unpretentious, primitive, ugly, little creature in a hat (a cave wight, the artist has suggested) digging away very frantically, in one hand a twig or a root, the other protected from the energy generated from his spade with a scrap of felt. (Seymour 1983, p.19.) </blockquote>\n\nFurther reading\n Jeannot Simmen, ‘Shadows of Reality’, in Heiner Bastian and Jeannot Simmen, Joseph Beuys – Zeichnungen, Tekeningen, Drawings, exhibition catalogue, Nationalgalerie, Berlin 1979, pp.85–90. Caroline Tisdall, Joseph Beuys, exhibition catalogue, Solomon R. Guggenheim Museum, New York 1979. Anne Seymour, ‘The Drawings of Joseph Beuys’, in Joseph Beuys Drawings, exhibition catalogue, City Art Galleries, Leeds 1983, pp.7–26, reproduced p.105.\nStephanie Straine February 2011\n</div>\n", "display_name": "Summary", "publication_date": "2012-06-22T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "Early in his life Beuys had been deeply influenced by the work of Richard Wagner, although he distanced himself from his antisemiticism and ultra-nationalism. The dwarf, Alberich, who steals the gold from the Rhine Maidens, fashions a ring from it but loses it to the Gods, appears in several of Beuys's works, including a play written in 1963. In this drawing the distinctive hat confirms the figure's identity, in what is an unpretentious and humorous self-portrait. In one hand the man holds a twig or root, referring to his interest in nature. The action of digging suggests the artist's scientific, enquiring mind and his desire to explore the world around him. Like the figure shown here, Beuys loved to use humble and natural materials and was not afraid to work hard or get his hands dirty.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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artwork

Graphite and watercolour on paper

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<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Granite in Arid Chalk

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00123

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https://media.tate.org.u…R/AR00123_10.jpg

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paper unique graphite watercolour

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Granite in Arid Chalk

1,965

ARTIST ROOMS Tate and National Galleries of Scotland

1965

CLEARED

5

support: 297 × 208 mm frame: 674 × 540 × 30 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "Two opposing elements are brought together in this painting, as Beuys combines hot and cold by depicting granite and chalk. Granite is an igneous rock, formed when molten rock cools and solidifies, and chalk is a sedimentary rock, formed by layers of mineral and organic material. Although the bright red granite looks like fire, it is in fact the cooler of the two elements when touched. Likewise, while the chalk is drier and 'arid', it is much warmer to the touch. Beuys has chosen two vastly different elements which also operate in reverse and at odds with their appearance.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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artwork

Paper and graphite on paper

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Score MANRESA

2,008

Partitur fur Manresa

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00124

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Joseph Beuys

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Score for MANRESA is a pencil and collage work on paper by the German artist Joseph Beuys that is related to his action event Manresa, staged by Beuys and two Danish artists at Galerie Schmela in Dusseldörf on 15 December 1966. The drawing is on a horizontal sheet of thick cream paper with a vertical fold down its centre that splits the paper into two equal halves. Across its surface the paper has yellow discolouration, creases and signs of wear. On the left side of the sheet is a roughly torn piece of white paper, which has been glued onto the cream support. Graphite pencil has been run around the torn edge of this irregular white paper shape to emphasise the shadowing and layering of the collage. The shape has three triangular forms drawn in pencil on its surface. On the right side of the sheet are two square shapes, an equilateral triangle that has been divided into three uneven segments, and a Latin cross split in two lengthways, with the left half suggested only by a wavering dotted outline. Score for MANRESA is signed, titled and dated on its reverse. The Manresa action was named after a small town in Catalonia, Spain where Saint Ignatius Loyola, the founder of the Jesuits, formulated his ‘Spiritual Exercises’ in the early sixteenth century. This work is one of many preparatory studies for Manresa, which the artist collectively termed Partituren (Scores). There are many further drawings by Beuys known as ‘scores’ which do not appear to be related to a specific action. Some, such as Score 1967 (Tate AR00678) seem almost wholly abstract. The curator Ann Temkin has stated that: ‘Beuys’s Partituren possess an autonomous existence as unique drawings, but also emphasize their connection to the event they document, to the artist/performer who created them, and to his larger body of work.’ (Temkin and Rose 1993, pp.56–7.)

false

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747

paper unique graphite

[]

Score for MANRESA

1,966

ARTIST ROOMS Tate and National Galleries of Scotland

1966

CLEARED

5

support: 209 × 296 mm frame: 674 × 541 × 28 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nScore for MANRESA is a pencil and collage work on paper by the German artist Joseph Beuys that is related to his action event Manresa, staged by Beuys and two Danish artists at Galerie Schmela in Dusseldörf on 15 December 1966. The drawing is on a horizontal sheet of thick cream paper with a vertical fold down its centre that splits the paper into two equal halves. Across its surface the paper has yellow discolouration, creases and signs of wear. On the left side of the sheet is a roughly torn piece of white paper, which has been glued onto the cream support. Graphite pencil has been run around the torn edge of this irregular white paper shape to emphasise the shadowing and layering of the collage. The shape has three triangular forms drawn in pencil on its surface. On the right side of the sheet are two square shapes, an equilateral triangle that has been divided into three uneven segments, and a Latin cross split in two lengthways, with the left half suggested only by a wavering dotted outline. Score for MANRESA is signed, titled and dated on its reverse. The Manresa action was named after a small town in Catalonia, Spain where Saint Ignatius Loyola, the founder of the Jesuits, formulated his ‘Spiritual Exercises’ in the early sixteenth century. This work is one of many preparatory studies for Manresa, which the artist collectively termed Partituren (Scores). There are many further drawings by Beuys known as ‘scores’ which do not appear to be related to a specific action. Some, such as Score 1967 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-score-ar00678\" title=\"View the details of this artwork\">AR00678</a>) seem almost wholly abstract. The curator Ann Temkin has stated that: ‘Beuys’s Partituren possess an autonomous existence as unique drawings, but also emphasize their connection to the event they document, to the artist/performer who created them, and to his larger body of work.’ (Temkin and Rose 1993, pp.56–7.) \n\nScore for MANRESA has some oil staining in the top right corner of the sheet and at the apex of the equilateral triangle, which suggests the presence of fat, one of the key recurring materials used by the artist in his performances, drawings, sculptures and installations, such as Fat Chair 1964–85 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-fat-chair-ar00088\" title=\"View the details of this artwork\">AR00088</a>) and Fat Battery 1963 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-fat-battery-t03919\" title=\"View the details of this artwork\">T03919</a>). The artist’s use of fat stems from a possibly apocryphal wartime encounter with the nomadic Tartar people, who wrapped Beuys in fat and felt to keep him insulated after his German warplane crashed in the Crimea in 1943. The art historian Friedhelm Mennekes claims of Manresa that: ‘Of the many items in the “action”, fat may be said to play the most important role. In Manresa it takes various forms: a ball of fat, a corner of fat; a filtered fat corner; thrown fat and dripping fat, running gradually down the wall.’ (Mennekes 1995, p.156.) All of the geometric elements in this small collage refer to the contents of the Manresa action. The various sculptural incarnations of these shapes are listed by Mennekes: ‘In the “action” the half-cross and a small square frame, the filter, are bound in felt; in addition, felt is spanned into a corner to form a tetrahedron.’ (Mennekes 1995, p.157.) The gallery was painted black for the action to further emphasise these structural additions to the space. Temkin has outlined the artist’s endeavour: \n\n<blockquote>Beuys’s activity involved several components. The largest was a tall half-cross built of wood and coated in felt, labelled with a sign as “Element 1”. A wooden box containing electrical apparatus and miscellaneous items such as a rosemary plant was labelled “Element 2”. The half-cross denoted contemporary man’s divided self, as a rational but not a spiritual being. Element 2, which Beuys used to generate sparks during the action, provided the element of intuition. Beuys also used a sculpture from the early 1950s entitled Plate Crucifix, as well as felt and fat corners, and a wind-up toy bird, which he released into the air at the conclusion. (Temkin and Rose 1993, p.54.)</blockquote>\nAlso part of ARTIST ROOMS is Beuys’s Object for Manresa 1966 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-object-for-manresa-ar00673\" title=\"View the details of this artwork\">AR00673</a>), a small cardboard circle hanging from a piece of string, which was used by the artist during the action – at some point worn over his back, as various documentary photographs show. There are also posters for a series of exhibitions that took place across Europe and America during the 1990s of the extensive photographic documentation of Manresa, thirty years after the event at Galerie Schmela (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-joseph-beuys-element-1-manresa-photo-documentary-ar00820\" title=\"View the details of this artwork\">AR00820</a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-joseph-beuys-manresa-fotos-einer-fluxus-demonstration-von-1966-hessisches-ar00970\" title=\"View the details of this artwork\">AR00970</a> and <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-beuys-manresa-kunst-station-sankt-peter-ar01098\" title=\"View the details of this artwork\">AR01098</a>). These posters show the tall felt-coated half-cross and other items involved in the action. Together with Score for MANRESA and Object for Manresa, this group of works represents the planning stages, event itself, and afterlife of the action as it continues to exist through documentation. As the art historian Ulf Jensen writes of Beuys’s actions of the 1960s, including Manresa: \n\n<blockquote>Alongside the material aspect of his works, performative elements such as gesture, mime, and position in space became increasingly important. Unlike the performances of his artist colleagues, Beuys’s actions did not incorporate the audience into the concept. His actions functioned as living images, generating their power through the distance between the viewer and the sphere of artistic activity. Many photographers and filmmakers documented the actions, which were planned by means of sketches and scores. (Ulf Jensen in Ackermann and Malz 2010, p.148.)</blockquote>\n\nFurther reading\n Ann Temkin and Bernice Rose (eds.), Thinking is Form: The Drawings of Joseph Beuys, exhibition catalogue, Philadelphia Museum of Art and The Museum of Modern Art, New York 1993, reproduced p.215. Friedhelm Mennekes, ‘Joseph Beuys’ MANRESA’, trans. by Fiona Elliott in David Thistlewood (ed.), Joseph Beuys: Diverging Critiques, Liverpool 1995, pp.149–64. Marion Ackermann and Isabelle Malz (eds.), Joseph Beuys, Parallel Processes, exhibition catalogue, Kunstsammlung Nordrhein-Westfalen, Düsseldorf 2010.\nStephanie Straine March 2011\n</div>\n", "display_name": "Summary", "publication_date": "2012-06-22T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "This drawing is a plan for the 'action' 'Manresa', performed in 1966. Manresa is a village in the Pyrenees which is associated with Ignatius Loyola, the author of the book 'Spiritual Exercises'. In the 'action', Beuys used the motif of a divided cross to refer to the geographical and spiritual divide between East and West, and the need for unification and healing. Here, we can see the halved cross, as well as triangular shapes. In Christianity, this shape refers to the Holy Trinity but Beuys's use of the shape also refers to his belief in the triad of 'thinking, feeling, wanting' which he described as influencing his triangular, wedged 'Fat Corners'.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "arts", "diagrammatic", "emotions, concepts and ideas", "event: action, Joseph Beuys, ‘Manresa’, Schmela Gallery, Düsseldorf, 1966", "formal qualities", "history", "literature and fiction", "literature (not Shakespeare)", "Loyola, Ignatius of, ‘The Autobiography’", "Loyola, Ignatius of, ‘The Spiritual Exercises’" ]

null

false

18725 9329 18890 58 17907 17906

false

artwork

Graphite on paper

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3,490

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1,974

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Astral Chemical Goddess

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00125

{ "id": 5, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,974

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false

1

https://media.tate.org.u…R/AR00125_10.jpg

747

paper unique graphite

[]

Astral Chemical Goddess

1,974

ARTIST ROOMS Tate and National Galleries of Scotland

1974

CLEARED

5

support: 253 × 260 mm frame: 674 × 540 × 28 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "At the centre of this drawing is a figure, who we can assume is the Goddess. To her left and right, a pair of hares extend their paws tentatively towards the woman, as if to keep her anchored to the ground. For Beuys, the hare was connected with fertility and the earth; in the same way he felt women were also. He depicted both women and hares as means of connection between earthly and unearthly worlds. Here, 'Astral' suggests a heavenly link and making the figure as a Goddess highlights the artist's interest in primitive rituals and tribal magic.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstract concepts", "abstraction", "adults", "animals: mammals", "astronomy", "Earth - woman", "emotions, concepts and ideas", "fertility", "fertility - hare", "fertility - woman", "figure", "from recognisable sources", "goddess", "hare", "nature", "people", "religion and belief", "star", "symbols and personifications", "universal concepts", "universal religious imagery", "woman" ]

null

false

1030 67 69 8067 1042 221 189 18002 1547 8026 1707 30 5731 167

false

artwork

Oil paint on paper

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3,491

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999967, "shortTitle": "National Heritage Memorial Fund" }, { "id": 999999968, "shortTitle": "Art Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,974

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Night in Rafters

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00126

{ "id": 5, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,974

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false

1

https://media.tate.org.u…R/AR00126_10.jpg

747

paper unique oil paint

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Night in the Rafters

1,974

ARTIST ROOMS Tate and National Galleries of Scotland

1974

CLEARED

5

support: 758 × 557 mm frame: 825 × 625 × 39 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "The horizontal lines of this painting give the impression of looking up at rafters in the roof of a building. The medium of Braunkreuz paint was a favourite of Beuys, and one the artist had used since the 1950s. He used it not so much for its colour as for the sculptural quality it brought to his works on paper. The matt, almost dusty effect it created is also reminiscent of the earth. Animals often appear in Beuys's drawings and paintings, and three rat-like animals can be seen here, two of which appear to be fighting.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstraction", "animals: mammals", "architecture", "features", "figure", "from recognisable sources", "man-made", "rat", "roof" ]

null

false

67 17 221 189 222 5547 3123

false

artwork

Graphite, oil paint and metal on paper and card

[ { "append_role_to_name": false, "date": "1921–1986", "fc": "Joseph Beuys", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/joseph-beuys-747" } ]

3,492

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1,975

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Woman with Dog

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00127

{ "id": 5, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,975

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false

1

https://media.tate.org.u…R/AR00127_10.jpg

747

paper unique graphite oil paint metal card

[ { "artistRoomsTour": false, "dateText": "22 March 2013 – 23 June 2013", "endDate": "2013-06-23", "exhibitionLegs": [ { "dateText": "22 March 2013 – 7 July 2013", "endDate": "2013-07-07", "id": 7494, "startDate": "2013-03-22", "venueName": "Middlesbrough Institute of Modern Art (Middlesbrough, UK)", "venueWebsiteUrl": "http://www.visitmima.com/" } ], "id": 5813, "startDate": "2013-03-22", "title": "Tracing the Century", "type": "Loan-out" } ]

The Woman with the Dog

1,975

ARTIST ROOMS Tate and National Galleries of Scotland

1975

CLEARED

5

support (top): 254 × 264 mm support (lower, each): 254 × 260 mm frame: 876 × 1130 × 30 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "Some of Beuys's drawings can be difficult to decipher. Despite the title, neither a human figure nor an animal is immediately apparent here, although the dark shapes in the top drawing are reminiscent of a dog's head. The two rows of drawings beneath appear to show a landscape, and their arrangement resembles a comic strip, as if a story is being told through the sequence. Beuys's drawings often featured the animals he loved. He felt that animals retained a natural instinct and closeness to nature that humans have lost.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstraction", "adults", "animals: mammals", "cartoon / comic strip", "dog - non-specific", "emotions, concepts and ideas", "environment / nature", "figure", "formal qualities", "from recognisable sources", "gestural", "landscape", "landscape", "landscape - non-specific", "people", "universal concepts", "woman" ]

null

false

67 16105 570 1596 221 189 19508 223 625 30 167

false

artwork

Ink, graphite and stamp on paper

[ { "append_role_to_name": false, "date": "1921–1986", "fc": "Joseph Beuys", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/joseph-beuys-747" } ]

3,493

[ { "id": 1000003, "shortTitle": "Text and Language" }, { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999967, "shortTitle": "National Heritage Memorial Fund" }, { "id": 999999968, "shortTitle": "Art Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,976

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Honey is Flowing in All Directions

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00128

{ "id": 5, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,976

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false

1

https://media.tate.org.u…R/AR00128_10.jpg

747

paper unique ink graphite stamp

[ { "artistRoomsTour": true, "dateText": "1 April 2010 – 27 September 2010", "endDate": "2010-09-27", "exhibitionLegs": [ { "dateText": "1 April 2010 – 27 September 2010", "endDate": "2010-09-27", "id": 5392, "startDate": "2010-04-01", "venueName": "Hunterian Museum and Art Gallery (Glasgow, UK)", "venueWebsiteUrl": "http://www.hunterian.gla.ac.uk" } ], "id": 4519, "startDate": "2010-04-01", "title": "ARTIST ROOMS 2010: Joseph Beuys", "type": "Loan-out" } ]

Honey is Flowing in All Directions

1,976

ARTIST ROOMS Tate and National Galleries of Scotland

1976

CLEARED

5

support: 210 × 290 mm frame: 674 × 540 × 26 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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[ "abstraction", "Beuys, Joseph, ‘Honeypump at the Workplace’", "fine art and design, named works", "inscriptions", "non-representational", "notes and diagrams", "objects", "politics", "socialism - bees", "stamp", "symbols and personifications", "text" ]

null

false

10639 166 185 1982 8028 17975 6951 445

false

artwork

Graphite, crayon and ink on paper

[ { "append_role_to_name": false, "date": "1921–1986", "fc": "Joseph Beuys", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/joseph-beuys-747" } ]

3,494

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1,977

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Shamans Two Bags

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00129

{ "id": 5, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,977

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false

1

https://media.tate.org.u…R/AR00129_10.jpg

747

paper unique graphite crayon ink

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The Shaman’s Two Bags

1,977

ARTIST ROOMS Tate and National Galleries of Scotland

1977

CLEARED

5

support (left): 760 × 564 mm support (right): 745 × 559 mm frame: 871 × 1228 × 29 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "The presence of the shaman is felt in this drawing, not through the man himself being shown but by his belongings being featured. Beuys felt a deep connection with the figure of the shaman, who appears in tribal cultures across the world. The shape of the bag on the left looks as if a pair of antlers is growing from the top, recalling the artist's fascination with the stag. The hook shape at the side looks like the top of the staff used by a shepherd or shaman. On the bag on the right, a shape like a tuning fork or divining stick emerges from the side of the bag.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "agriculture, gardening & fishing", "bag", "creativity", "crook", "divining rod", "emotions and human qualities", "emotions, concepts and ideas", "mysticism", "objects", "religion and belief", "scientific and measuring", "shamanism", "vessels and containers" ]

null

false

79 8559 6767 5663 31 444 172 3026 170

false

artwork

Oil paint on paper

[ { "append_role_to_name": false, "date": "1921–1986", "fc": "Joseph Beuys", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/joseph-beuys-747" } ]

3,495

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1,964

<a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a>

Brown Environment Giant Vessels

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00130

{ "id": 5, "meta": { "type": "art.Classification" } }

7005980 1003123 7003677 7000084 7004443

Joseph Beuys

1,964

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false

1

https://media.tate.org.u…R/AR00130_10.jpg

747

paper unique oil paint

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For Brown Environment: Giant Vessels

1,964

ARTIST ROOMS Tate and National Galleries of Scotland

1964

CLEARED

5

support: 738 × 1052 mm frame: 789 × 1119 × 48 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "Beuys's environments developed from the artist's performed 'actions' and his glass cases (vitrines) containing objects. They were large-scale installations which allowed the artist to extend the boundaries of three-dimensional objects by 'staging' an environment, like a theatre set. Environments allowed Beuys to 'freeze' a moment from an 'action', and like the 'actions' and vitrines, a central concept of the environments was Beuys's use of everyday materials. In distinctive matt brown Braunkreuz oil paint, this work sets the tone for a monochromatic environment in the artist's signature colour. The cylindrical shapes with curved ends suggest that organic shapes or rolls of felt may be included in the environment.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstraction", "colour", "irregular forms", "monochromatic", "non-representational" ]

null

false

225 796 9663 185

false

artwork

Language and the materials referred to

[ { "append_role_to_name": false, "date": "1942 – 2021", "fc": "Lawrence Weiner", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/lawrence-weiner-7743" } ]

3,496

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1,988

<a href="https://www.tate.org.uk/art/artists/lawrence-weiner-7743" aria-label="More by Lawrence Weiner" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Lawrence Weiner</a>

STRAIGHT DOWN TO BELOW

2,008

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00131

{ "id": 3, "meta": { "type": "art.Classification" } }

421

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Lawrence Weiner

1,988

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false

1

https://media.tate.org.u…AR/AR00131_9.jpg

7743

installation language materials referred to

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STRAIGHT DOWN TO BELOW

1,988

ARTIST ROOMS Tate and National Galleries of Scotland

1988

CLEARED

3

Overall display dimensions variable

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[]

[ "abstraction", "inscriptions", "non-representational", "phrase", "symbols and personifications", "text" ]

null

false

166 185 2016 445

true

artwork

Language and the materials referred to

[ { "append_role_to_name": false, "date": "1942 – 2021", "fc": "Lawrence Weiner", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/lawrence-weiner-7743" } ]

3,497

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1,988

<a href="https://www.tate.org.uk/art/artists/lawrence-weiner-7743" aria-label="More by Lawrence Weiner" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Lawrence Weiner</a>

FIRE AND BRIMSTONE SET IN A HOLLOW FORMED BY HAND

2,008

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00132

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421

7022658 7007567 1002551 7007568 7012149

Lawrence Weiner

1,988

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false

1

https://media.tate.org.u…AR/AR00132_9.jpg

7743

installation language materials referred to

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FIRE AND BRIMSTONE SET IN A HOLLOW FORMED BY HAND

1,988

ARTIST ROOMS Tate and National Galleries of Scotland

1988

CLEARED

3

Overall display dimensions variable

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[]

[ "abstraction", "inscriptions", "non-representational", "phrase", "symbols and personifications", "text" ]

null

false

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artwork

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3,498

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1,988

<a href="https://www.tate.org.uk/art/artists/lawrence-weiner-7743" aria-label="More by Lawrence Weiner" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Lawrence Weiner</a>

SILVER THREADS ENTWINED IN THREADS GOLD

2,008

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00133

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Lawrence Weiner

1,988

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SILVER THREADS ENTWINED IN THREADS OF GOLD

1,988

ARTIST ROOMS Tate and National Galleries of Scotland

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CLEARED

3

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ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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166 185 2016 445

true

artwork

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3,499

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1,988

<a href="https://www.tate.org.uk/art/artists/lawrence-weiner-7743" aria-label="More by Lawrence Weiner" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Lawrence Weiner</a>

TAKEN UP WITH

2,008

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00134

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Lawrence Weiner

1,988

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7743

installation language materials referred to

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TAKEN UP WITH

1,988

ARTIST ROOMS Tate and National Galleries of Scotland

1988

CLEARED

3

Overall display dimensions variable

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

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null

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166 185 2016 445

true

artwork

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3,500

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1,988

<a href="https://www.tate.org.uk/art/artists/lawrence-weiner-7743" aria-label="More by Lawrence Weiner" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Lawrence Weiner</a>

WIPED OFF FACE EARTH

2,008

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00135

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421

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Lawrence Weiner

1,988

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false

1

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7743

installation language materials referred to

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WIPED OFF THE FACE OF THE EARTH

1,988

ARTIST ROOMS Tate and National Galleries of Scotland

1988

CLEARED

3

Overall display dimensions variable

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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[ "abstraction", "inscriptions", "non-representational", "phrase", "symbols and personifications", "text" ]

null

false

166 185 2016 445

true

artwork

Language and the materials referred to

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3,501

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1,988

<a href="https://www.tate.org.uk/art/artists/lawrence-weiner-7743" aria-label="More by Lawrence Weiner" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Lawrence Weiner</a>

TIED UP IN KNOTS

2,008

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00136

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7022658 7007567 1002551 7007568 7012149

Lawrence Weiner

1,988

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false

1

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7743

installation language materials referred to

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TIED UP IN KNOTS

1,988

ARTIST ROOMS Tate and National Galleries of Scotland

1988

CLEARED

3

Overall display dimensions variable

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[]

[ "abstraction", "inscriptions", "non-representational", "phrase", "symbols and personifications", "text" ]

null

false

166 185 2016 445

true

artwork

Language and the materials referred to

[ { "append_role_to_name": false, "date": "1942 – 2021", "fc": "Lawrence Weiner", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/lawrence-weiner-7743" } ]

3,502

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1,988

<a href="https://www.tate.org.uk/art/artists/lawrence-weiner-7743" aria-label="More by Lawrence Weiner" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Lawrence Weiner</a>

TUCKED IN AT CORNERS

2,008

[ { "map_gallery": "TM", "map_gallery_label": "Tate Modern", "map_level": "TM_04", "map_level_label": "TM Level 4", "map_space": "TMB4W16", "map_space_label": "Tate Modern / B4W16", "map_wing": null, "map_wing_label": null, "map_zone": "TM_BH", "map_zone_label": "TM Natalie Bell Building", "nid": "451978" } ]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00137

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421

7022658 7007567 1002551 7007568 7012149

Lawrence Weiner

1,988

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false

1

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7743

installation language materials referred to

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TUCKED IN AT THE CORNERS

1,988

ARTIST ROOMS Tate and National Galleries of Scotland

1988

CLEARED

3

Overall display dimensions variable

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[]

[ "abstraction", "inscriptions", "non-representational", "phrase", "symbols and personifications", "text" ]

null

false

166 185 2016 445

true

artwork

Language and the materials referred to

[ { "append_role_to_name": false, "date": "1942 – 2021", "fc": "Lawrence Weiner", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/lawrence-weiner-7743" } ]

3,503

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1,988

<a href="https://www.tate.org.uk/art/artists/lawrence-weiner-7743" aria-label="More by Lawrence Weiner" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Lawrence Weiner</a>

ROUGHLY RIPPED APART

2,008

[ { "map_gallery": "TM", "map_gallery_label": "Tate Modern", "map_level": "TM_04", "map_level_label": "TM Level 4", "map_space": "TMB4W16", "map_space_label": "Tate Modern / B4W16", "map_wing": null, "map_wing_label": null, "map_zone": "TM_BH", "map_zone_label": "TM Natalie Bell Building", "nid": "451978" } ]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00138

{ "id": 3, "meta": { "type": "art.Classification" } }

421

7022658 7007567 1002551 7007568 7012149

Lawrence Weiner

1,988

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false

1

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7743

installation language materials referred to

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ROUGHLY RIPPED APART

1,988

ARTIST ROOMS Tate and National Galleries of Scotland

1988

CLEARED

3

Overall display dimensions variable

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[]

[ "abstraction", "inscriptions", "non-representational", "phrase", "symbols and personifications", "text" ]

null

false

166 185 2016 445

true

artwork

Language and the materials referred to

[ { "append_role_to_name": false, "date": "1942 – 2021", "fc": "Lawrence Weiner", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/lawrence-weiner-7743" } ]

3,504

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1,988

<a href="https://www.tate.org.uk/art/artists/lawrence-weiner-7743" aria-label="More by Lawrence Weiner" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Lawrence Weiner</a>

DAUBED WITH MUCK AND MIRE

2,008

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00139

{ "id": 3, "meta": { "type": "art.Classification" } }

421

7022658 7007567 1002551 7007568 7012149

Lawrence Weiner

1,988

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false

1

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7743

installation language materials referred to

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DAUBED WITH MUCK AND MIRE

1,988

ARTIST ROOMS Tate and National Galleries of Scotland

1988

CLEARED

3

Overall display dimensions variable

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[]

[ "abstraction", "inscriptions", "non-representational", "phrase", "symbols and personifications", "text" ]

null

false

166 185 2016 445

true

artwork

Language and the materials referred to

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3,505

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1,988

<a href="https://www.tate.org.uk/art/artists/lawrence-weiner-7743" aria-label="More by Lawrence Weiner" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Lawrence Weiner</a>

CRUSHED BETWEEN COBBLESTONES

2,008

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00140

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ARTIST ROOMS Tate and National Galleries of Scotland

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ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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Four Self Portraits 05381

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

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Four Self Portraits - 05.3.81

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ARTIST ROOMS Tate and National Galleries of Scotland

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ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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A Line Made by Walking

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00142

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This photograph shows a straight line of trampled grass receding towards tall bushes or trees at the far side of what appears to be a field. Below the photograph, on the off-white paper mount, are the words ‘A LINE MADE BY WALKING’ (handwritten in red pencil) and, below this, ‘ENGLAND 1967’ (handwritten in graphite pencil).

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A Line Made by Walking

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ARTIST ROOMS Tate and National Galleries of Scotland

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ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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In Cloud

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00143

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In the Cloud is a large framed text work, printed on off-white paper. The title words ‘IN THE CLOUD’ are printed in red capital letters in Gill Sans typeface. Below is a text printed in black capitals in the same font:

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In the Cloud

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ARTIST ROOMS Tate and National Galleries of Scotland

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ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nIn the Cloud is a large framed text work, printed on off-white paper. The title words ‘IN THE CLOUD’ are printed in red capital letters in Gill Sans typeface. Below is a text printed in black capitals in the same font:\n\n<blockquote>ALONG AN 8 DAY WALK ACROSS SCOTLAND</blockquote>\n<blockquote>¾ HOUR IN CLOUD</blockquote>\n<blockquote>WHILE GOING OVER BEN MACDUI</blockquote>\n<blockquote>THE HIGHEST POINT OF THE WALK</blockquote>\n\n<blockquote>COAST TO COAST WEST TO EAST 1991</blockquote>\nThe text is a description of a walk that Long took in the Cairngorms national park in Scotland in 1991. The artist has been making works in Scotland since he was a student, most notably Ben Nevis Hitchhike 1967 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/long-untitled-t02065\" title=\"View the details of this artwork\">T02065</a>), for which the artist hitchhiked and walked from London to the peak of Britain’s highest mountain. Scotland is a suitable place for Long to make his walking works for as the artist has remarked, most of it ‘is still wilderness, most of the Highlands are still possible for people to walk’ (cited in Tufnell 2007, p.71).\n\nIn the Cloud describes the moment Long walked over Ben Macdui, the tallest peak in the Cairngorms, and records how much time the artist spent enveloped in cloud. Another text work, A Cloudless Walk 1996 (Scottish National Gallery of Modern Art, Edinburgh), describes a walk determined by the length of time the artist walked until he reached a cloud.\nThe textual description of the walk provided by In the Cloud avoids mentioning extraneous details or using verbose language. Long has stated that ‘A text is a description, or story, of a work in the landscape. It is the simplest and most elegant way to present a particular idea, which could be a walk, or a sculpture, or both’ (cited in Tufnell 2007, p.45). The artist’s first text work was made in 1969 for the seminal exhibition of conceptual art When Attitudes Become Form: Live in Your Head at the Kunsthalle Bern (see Wallis 2009, p.47). That work, called A Walking Tour in the Berner Oberland: When Attitudes Become Form (whereabouts unknown), consisted of a text that included the first half of the work’s title proceeded by the artist’s name and the dates on which the ‘walking tour’ took place. In the same way as In the Cloud, this early work recorded a walk in pared-down and impersonal language. This use of language is characteristic of conceptualism, but for Long it is essential that the idea presented in the text has been executed, whereas other conceptual artists who make text-based work, such as Lawrence Weiner, privilege the idea over the possible realisation of an action. Regarding the use of text in his work, Long has commented:\n\n<blockquote>one of the reasons why I started making text works is because it gave me another possibility, not using the camera or not necessarily making a sculpture. I can use words and they can give me different possibilities than I would get from using a camera. So, taking photographs does a certain type of job, records one moment, makes an image. And words do a different job. They can usually record the whole idea of a walk. They have a different function, sometimes a more complete function.</blockquote>\n<blockquote>(Cited in Tufnell 2007, p.69.)</blockquote>\nOther text works by Long in the ARTIST ROOMS collection include Waterlines 1989 (Tate AL00205), 60 Minute Walk 1990 (Tate AL00207) and Sound Line 1991 (Tate AL00206).\n\nFurther reading\n Richard Long (ed.), Richard Long: Walking the Line, London 2002, reproduced p.22. Ben Tufnell (ed.), Richard Long: Selected Statements & Interviews, London 2007. Clarrie Wallis (ed.), Richard Long: Heaven and Earth, exhibition catalogue, Tate Britain, London 2009. William Malpas, The Art of Richard Long, Maidstone 2011, pp.281, 290.\nRuth Burgon The University of Edinburgh March 2013\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n</div>\n", "display_name": "Summary", "publication_date": "2013-07-16T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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Book with mud on paper

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River Avon Book

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

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River Avon Book has a black front cover on which the words ‘RIVER AVON BOOK | RICHARD LONG’ are handwritten in white pencil crayon. The book has around thirty off-white, hand-made pages with torn edges featuring horizontal streaks of light-brown mud. On some pages the mud streaks are thicker and darker while on others they are thinner and more mottled, evoking rivulets across the pages.

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River Avon Book

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ARTIST ROOMS Tate and National Galleries of Scotland

1979

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ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nRiver Avon Book has a black front cover on which the words ‘RIVER AVON BOOK | RICHARD LONG’ are handwritten in white pencil crayon. The book has around thirty off-white, hand-made pages with torn edges featuring horizontal streaks of light-brown mud. On some pages the mud streaks are thicker and darker while on others they are thinner and more mottled, evoking rivulets across the pages.\nLong created the pages of this book by dipping sheets of paper into silty wet mud taken from the River Avon in Bristol. He then hung up each sheet to allow the water to run off, leaving streaks of dried mud on its surface. These papers were then hand-bound into a book. The artist has explained:\n\n<blockquote>I think the first mud work on paper was River Avon Book of 1979, where I had the idea to make this book with the pages dipped in muddy water. So I got all these sheets, quite big sheets, and after they had been dipped in the muddy water they were cut down and bound into these books. That was the first time I used paper with mud on it.</blockquote>\n<blockquote>(Elliot 2006, p.51.)</blockquote>\nAlthough he has also worked with mud taken from other rivers, Long frequently uses mud from the River Avon and has even taken it abroad for use in exhibitions. Referring to the Avon as his ‘home’ river – since it runs through Bristol, where he was born – Long says:\n\n<blockquote>My first natural playground was the cliff of the Avon Gorge and the towpath by the river. So even as a kid I was fascinated by the enormous tide, and the mud banks, and the wash of the boats as they swept past. You have this wash sweeping up the mud … muddy creeks … I guess it’s right to say that I have used that experience in my art: like water, the tides, the mud. All that cosmic energy is there in my work.</blockquote>\n<blockquote>(Ben Tufnell (ed.), Richard Long: Selected Statements & Interviews, London 2007, p.112.)</blockquote>\n\nRiver Avon Book is unique due to the method of its creation, but Long used the same technique to create an edition of 106. Another book in the edition is in the collection of the Museum of Modern Art in New York. Tate curator Andrew Wilson has noted of this edition that ‘in holding this book you literally hold the river … the pace of the turning pages akin to the shifting currents. Each page of each book is thus a unique and real image and each book is different from another as is each page, one from another’ (Andrew Wilson in Wallis 2009, p.199). Long has used a similar ‘mud drawing’ technique for other works, such as River Avon Mud Drawings, Ten Mud-Dipped Papers 1988 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/long-river-avon-mud-drawings-ten-mud-dipped-papers-ar00616\" title=\"View the details of this artwork\">AR00616</a>) and Untitled 1991 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/long-untitled-t06555\" title=\"View the details of this artwork\">T06555</a>).\n\nFurther reading\n Anne Seymour, Richard Long: Old World, New World, London 1988, p.59. Patrick Elliot, Richard Long: Walking and Marking, exhibition catalogue, National Galleries of Scotland, Edinburgh 2006, p.51. Clarrie Wallis, Richard Long: Heaven and Earth, exhibition catalogue, Tate Britain, London 2009, p.199.\nRuth Burgon January 2012\n</div>\n", "display_name": "Summary", "publication_date": "2013-06-24T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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Self Portrait

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

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11413

paper print photograph gelatin silver

[ { "artistRoomsTour": true, "dateText": "25 September 2010 – 21 November 2010", "endDate": "2010-11-21", "exhibitionLegs": [ { "dateText": "25 September 2010 – 21 November 2010", "endDate": "2010-11-21", "id": 5399, "startDate": "2010-09-25", "venueName": "Towner (Eastbourne, UK)", "venueWebsiteUrl": "http://www.townereastbourne.org.uk/" } ], "id": 4527, "startDate": "2010-09-25", "title": "ARTIST ROOMS 2010: Robert Mapplethorpe", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "10 November 2012 – 27 April 2013", "endDate": "2013-04-27", "exhibitionLegs": [ { "dateText": "10 November 2012 – 27 April 2013", "endDate": "2013-04-27", "id": 6922, "startDate": "2012-11-10", "venueName": "Perth Museum & Art Gallery (Perth, UK)", "venueWebsiteUrl": "http://www.pkc.gov.uk/" } ], "id": 5645, "startDate": "2012-11-10", "title": "ARTIST ROOMS 2012: Mapplethorpe Scottish Tour", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "9 May 2014 – 26 October 2014", "endDate": "2014-10-26", "exhibitionLegs": [ { "dateText": "9 May 2016 – 26 October 2016", "endDate": "2016-10-26", "id": 9080, "startDate": "2016-05-09", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 7446, "startDate": "2014-05-09", "title": "Mapplethorpe Self Portraits and Portraits", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "28 February 2015 – 23 May 2015", "endDate": "2015-05-23", "exhibitionLegs": [ { "dateText": "28 February 2015 – 23 May 2015", "endDate": "2015-05-23", "id": 9236, "startDate": "2015-02-28", "venueName": "Clydebank Museum (Clydebank, UK)", "venueWebsiteUrl": null } ], "id": 7586, "startDate": "2015-02-28", "title": "ARTIST ROOMS 2015: Robert Mapplethorpe", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "8 August 2015 – 7 November 2015", "endDate": "2015-11-07", "exhibitionLegs": [ { "dateText": "8 August 2015 – 7 November 2015", "endDate": "2015-11-07", "id": 9592, "startDate": "2015-08-08", "venueName": "Aberystwyth Arts Centre (Aberystwyth, UK)", "venueWebsiteUrl": null } ], "id": 7868, "startDate": "2015-08-08", "title": "ARTIST ROOMS 2015: Robert Mapplethorpe", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "28 November 2015 – 26 April 2016", "endDate": "2016-04-26", "exhibitionLegs": [ { "dateText": "28 November 2015 – 26 April 2016", "endDate": "2016-04-26", "id": 9839, "startDate": "2015-11-28", "venueName": "Bowes Museum (Barnard Castle, UK)", "venueWebsiteUrl": "http://www.bowesmuseum.org.uk" } ], "id": 8101, "startDate": "2015-11-28", "title": "ARTIST ROOMS 2015: Robert Mapplethorpe", "type": "Loan-out" } ]

Self Portrait

1,988

ARTIST ROOMS Tate and National Galleries of Scotland

1988

CLEARED

4

support: 271 × 575 mm frame: 616 × 895 × 29 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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null

false

118 93 1572 6919 195 17643 3826 9328 20114 20116

false

artwork

Photograph, gelatin silver print on paper

[ { "append_role_to_name": false, "date": "1946–1989", "fc": "Robert Mapplethorpe", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/robert-mapplethorpe-11413" } ]

3,511

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1,986

<a href="https://www.tate.org.uk/art/artists/robert-mapplethorpe-11413" aria-label="More by Robert Mapplethorpe" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Robert Mapplethorpe</a>

Brice Marden

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00146

{ "id": 4, "meta": { "type": "art.Classification" } }

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,986

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false

1

https://media.tate.org.u…R/AR00146_10.jpg

11413

paper print photograph gelatin silver

[ { "artistRoomsTour": false, "dateText": "9 May 2014 – 26 October 2014", "endDate": "2014-10-26", "exhibitionLegs": [ { "dateText": "9 May 2016 – 26 October 2016", "endDate": "2016-10-26", "id": 9080, "startDate": "2016-05-09", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 7446, "startDate": "2014-05-09", "title": "Mapplethorpe Self Portraits and Portraits", "type": "Collection based display" } ]

Brice Marden

1,986

ARTIST ROOMS Tate and National Galleries of Scotland

1986

CLEARED

4

support: 476 × 471 mm frame: 819 × 786 × 27 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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null

false

2793 118 93 88 10639 493 615 20118 195 17808 9328 20114

false

artwork

Photograph, gelatin silver print on paper

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3,512

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1,976

<a href="https://www.tate.org.uk/art/artists/robert-mapplethorpe-11413" aria-label="More by Robert Mapplethorpe" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Robert Mapplethorpe</a>

Brice Marden

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00147

{ "id": 4, "meta": { "type": "art.Classification" } }

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,976

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false

1

https://media.tate.org.u…R/AR00147_10.jpg

11413

paper print photograph gelatin silver

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Brice Marden

1,976

ARTIST ROOMS Tate and National Galleries of Scotland

1976

CLEARED

4

support: 340 × 341 mm frame: 618 × 587 × 38 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "The American painter, Brice Marden, was a friend of Mapplethorpe and Patti Smith. His austere, monochrome abstractions were being widely shown by the mid 1970s and he had a solo exhibition at the Guggenheim Museum in New York in 1975. Almost in emulation of Marden’s carefully balanced compositions, Mapplethorpe has divided his image into two, almost equal, halves by a vertical pipe on the wall. The triangular shape formed by the seated Marden on the left is counterbalanced by a group of stacked paintings on the far right.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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null

false

92 2793 118 776 4334 750 88 83 82 20118 1219 195 17808 9328 20114 52 694 2800 206 46

false

artwork

Photograph, gelatin silver print on paper

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3,513

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1,986

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Willem de Kooning

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00148

{ "id": 4, "meta": { "type": "art.Classification" } }

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,986

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This photograph shows the artist Willem de Kooning (1904–1997) in a head and shoulders shot, looking directly at the camera. His skin is freckled, his hair casually parted, and he is smiling slightly. He wears a white T-shirt, a large-collared, pale-coloured shirt, and a set of dark-coloured dungarees. His left dungaree strap rests on his shoulder, while the right strap has slipped down. The background, which is slightly out of focus, features a number of curved shapes with a painterly quality. A sweeping band just above de Kooning’s right shoulder is noticeably darker than the others, suggesting that the artist has been photographed in front of one of his own paintings.

false

1

https://media.tate.org.u…R/AR00148_10.jpg

11413

paper print photograph gelatin silver

[ { "artistRoomsTour": true, "dateText": "26 April 2009 – 27 June 2009", "endDate": "2009-06-27", "exhibitionLegs": [ { "dateText": "26 April 2009 – 27 June 2009", "endDate": "2009-06-27", "id": 4903, "startDate": "2009-04-26", "venueName": "Inverness Museum & Art Gallery (Inverness, UK)", "venueWebsiteUrl": "http://www.invernessmuseum.com" } ], "id": 4104, "startDate": "2009-04-26", "title": "ARTIST ROOMS 2009: Robert Mapplethorpe", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "19 December 2009 – 27 March 2010", "endDate": "2010-03-27", "exhibitionLegs": [ { "dateText": "19 December 2009 – 27 March 2010", "endDate": "2010-03-27", "id": 5121, "startDate": "2009-12-19", "venueName": "Graves Art Gallery (Sheffield, UK)", "venueWebsiteUrl": "http://www.museums-sheffield.org.uk/coresite/html/graves.asp" } ], "id": 4296, "startDate": "2009-12-19", "title": "ARTIST ROOMS 2009: Robert Mapplethorpe", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "25 September 2010 – 21 November 2010", "endDate": "2010-11-21", "exhibitionLegs": [ { "dateText": "25 September 2010 – 21 November 2010", "endDate": "2010-11-21", "id": 5399, "startDate": "2010-09-25", "venueName": "Towner (Eastbourne, UK)", "venueWebsiteUrl": "http://www.townereastbourne.org.uk/" } ], "id": 4527, "startDate": "2010-09-25", "title": "ARTIST ROOMS 2010: Robert Mapplethorpe", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "10 November 2012 – 27 April 2013", "endDate": "2013-04-27", "exhibitionLegs": [ { "dateText": "10 November 2012 – 27 April 2013", "endDate": "2013-04-27", "id": 6922, "startDate": "2012-11-10", "venueName": "Perth Museum & Art Gallery (Perth, UK)", "venueWebsiteUrl": "http://www.pkc.gov.uk/" } ], "id": 5645, "startDate": "2012-11-10", "title": "ARTIST ROOMS 2012: Mapplethorpe Scottish Tour", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "9 May 2014 – 26 October 2014", "endDate": "2014-10-26", "exhibitionLegs": [ { "dateText": "9 May 2016 – 26 October 2016", "endDate": "2016-10-26", "id": 9080, "startDate": "2016-05-09", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 7446, "startDate": "2014-05-09", "title": "Mapplethorpe Self Portraits and Portraits", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "28 February 2015 – 23 May 2015", "endDate": "2015-05-23", "exhibitionLegs": [ { "dateText": "28 February 2015 – 23 May 2015", "endDate": "2015-05-23", "id": 9236, "startDate": "2015-02-28", "venueName": "Clydebank Museum (Clydebank, UK)", "venueWebsiteUrl": null } ], "id": 7586, "startDate": "2015-02-28", "title": "ARTIST ROOMS 2015: Robert Mapplethorpe", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "8 August 2015 – 7 November 2015", "endDate": "2015-11-07", "exhibitionLegs": [ { "dateText": "8 August 2015 – 7 November 2015", "endDate": "2015-11-07", "id": 9592, "startDate": "2015-08-08", "venueName": "Aberystwyth Arts Centre (Aberystwyth, UK)", "venueWebsiteUrl": null } ], "id": 7868, "startDate": "2015-08-08", "title": "ARTIST ROOMS 2015: Robert Mapplethorpe", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "28 November 2015 – 26 April 2016", "endDate": "2016-04-26", "exhibitionLegs": [ { "dateText": "28 November 2015 – 26 April 2016", "endDate": "2016-04-26", "id": 9839, "startDate": "2015-11-28", "venueName": "Bowes Museum (Barnard Castle, UK)", "venueWebsiteUrl": "http://www.bowesmuseum.org.uk" } ], "id": 8101, "startDate": "2015-11-28", "title": "ARTIST ROOMS 2015: Robert Mapplethorpe", "type": "Loan-out" } ]

Willem de Kooning

1,986

ARTIST ROOMS Tate and National Galleries of Scotland

1986

CLEARED

4

support: 476 × 471 mm frame: 818 × 785 × 28 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThis photograph shows the artist Willem de Kooning (1904–1997) in a head and shoulders shot, looking directly at the camera. His skin is freckled, his hair casually parted, and he is smiling slightly. He wears a white T-shirt, a large-collared, pale-coloured shirt, and a set of dark-coloured dungarees. His left dungaree strap rests on his shoulder, while the right strap has slipped down. The background, which is slightly out of focus, features a number of curved shapes with a painterly quality. A sweeping band just above de Kooning’s right shoulder is noticeably darker than the others, suggesting that the artist has been photographed in front of one of his own paintings.\nMapplethorpe was commissioned by the curator Richard Marshall to take photographs of artists residing in New York for the book 50 New York Artists, published in 1986. All fifty photographs were taken by Mapplethorpe and included sitters such as Keith Haring (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mapplethorpe-keith-haring-ar00207\" title=\"View the details of this artwork\">AR00207</a>), Brice Marden (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mapplethorpe-brice-marden-ar00146\" title=\"View the details of this artwork\">AR00146</a>) and Roy Lichtenstein (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mapplethorpe-roy-lichtenstein-ar00217\" title=\"View the details of this artwork\">AR00217</a>). This portrait of Willem de Kooning was reproduced in the book alongside his painting Untitled IX 1985 (private collection). The portrait was also printed separately and it is this print that is held in the ARTIST ROOMS collection. At the time the photograph was taken de Kooning was a key player in the American art scene, having established himself as a prominent abstract expressionist in the 1940s and 1950s. It is not clear which painting features in the background of Mapplethorpe’s photograph, although it resembles contemporary works by de Kooning such as Rider (Untitled VII) 1985 (Museum of Modern Art, New York).\nAs with several of the other photographs included in 50 New York Artists, Mapplethorpe made his sitter’s identity as an artist apparent through both apparel and background. De Kooning is dressed casually, wearing an outfit that is almost workmanlike. By presenting de Kooning in studio attire, Mapplethorpe’s photograph has an almost documentary quality, as though the artist has been interrupted while working. There is perhaps also an element of sadness to the photograph, given that in 1986 de Kooning was suffering from Alzheimer’s disease and beginning to lose his eyesight. However, de Kooning was still very much active as an artist at this time, something that Mapplethorpe conveys in this portrait.\nIn 50 New York Artists the photograph appears alongside a statement by de Kooning, which reads:\n\n<blockquote>If you write down a sentence and you don’t like it, but that’s what you wanted to say, you say it again in another way. Once you start doing it and you find how difficult it is, you get interested. You have it, then you lose it again, and then you get it again. You have to change to stay the same. (Quoted in Marshall 1986, p.34.)</blockquote>\nDe Kooning here describes the difficult process of self-expression, of seeking and finding the means to convey a message, a method that applies as much to painting as to words. The juxtaposition of words, photograph, and painting reproduced in 50 New York Artists provides a snapshot of de Kooning and his working methods at this late stage in his career.\nWillem de Kooning marks a shift away from the sadomasochistic subject matter of much of Mapplethorpe’s work of the late 1970s. This and other photographs made in the early and mid-1980s – such as Robert Rauschenberg 1983 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mapplethorpe-robert-rauschenberg-ar00216\" title=\"View the details of this artwork\">AR00216</a>) and Roy Lichtenstein 1985 (Tate AR00217) – are less controversial. As Richard Marshall has suggested, these works ‘show a shift away from ... actively sexual imagery to a phase of refinement of subject and composition that emphasizes a classical, quiet, and formalized sense of beauty’ (Marshall 1988, p.14).\n\nFurther reading\n Richard Marshall, 50 New York Artists: A Critical Selection of Painters and Sculptors Working in New York, San Francisco 1986, reproduced p.34. Richard Marshall, Robert Mapplethorpe, London 1988. Germano Celant, Mapplethorpe, exhibition catalogue, Hayward Gallery, London 1996.\nThomas Flanagan University of Edinburgh November 2014\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n\n</div>\n", "display_name": "Summary", "publication_date": "2017-01-27T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "The Dutch-born American painter, Willem de Kooning (1904-1997), was, along with Jackson Pollock, the chief representative of the gestural form of Abstract Expressionism. Mapplethorpe portrays him as a benign ‘old-timer’ in his working overalls. As with his portraits of Brice Marden, Roy Lichtenstein and Francesco Clemente, it appears Mapplethorpe has photographed him infront of one of his own paintings.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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null

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artwork

Photograph, gelatin silver print on paper

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3,514

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1,986

<a href="https://www.tate.org.uk/art/artists/robert-mapplethorpe-11413" aria-label="More by Robert Mapplethorpe" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Robert Mapplethorpe</a>

Andy Warhol

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00149

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7007567 1002551 7007568 7012149

Robert Mapplethorpe

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1

https://media.tate.org.u…R/AR00149_10.jpg

11413

paper print photograph gelatin silver

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Andy Warhol

1,986

ARTIST ROOMS Tate and National Galleries of Scotland

1986

CLEARED

4

support: 476 × 471 mm frame: 784 × 816 × 30 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "Andy Warhol (1928-1987) was one of the most influential artists of the late twentieth century. Indeed, Mapplethorpe had idolised him while he was studying at Pratt Institute in Brooklyn in the late 1960s. However, by 1973 when they showed together at the Gotham Book Mart in New York, they were distrustful of each other. After completing portraits of each other in 1983, Mapplethorpe photographed Warhol again in 1986. Warhol’s head appears severed from his body, floating within a black void. His trademark luminous wig and pale face contrast brilliantly against the background, creating a ghostly appearance. As with the 1983 portraits, Warhol bears his customary blank expression.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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null

false

13610 118 93 4059 615 20118 195 9328 20114 14979

false

artwork

Photograph, gelatin silver print on paper

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3,515

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1,983

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Andy Warhol

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00150

{ "id": 4, "meta": { "type": "art.Classification" } }

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,983

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In this black and white portrait photograph the artist Andy Warhol is seen standing up leaning his right shoulder against a white wall. The artist stares directly at the camera with a somewhat blank expression, his mouth slightly ajar, as he rubs his hands in front of himself in a nervous fashion. Warhol wears a turtleneck jumper underneath a black suit jacket, a pair of jeans into which his jumper is tucked, and his customary white wig. He stands in front of a plain grey backdrop which extends to the right edge of the print, while the white wall that he leans against is shot in line with the picture plane so that it appears as a flat vertical band occupying almost a quarter of the composition.

false

1

https://media.tate.org.u…R/AR00150_10.jpg

11413

paper print photograph gelatin silver

[ { "artistRoomsTour": true, "dateText": "26 April 2009 – 27 June 2009", "endDate": "2009-06-27", "exhibitionLegs": [ { "dateText": "26 April 2009 – 27 June 2009", "endDate": "2009-06-27", "id": 4903, "startDate": "2009-04-26", "venueName": "Inverness Museum & Art Gallery (Inverness, UK)", "venueWebsiteUrl": "http://www.invernessmuseum.com" } ], "id": 4104, "startDate": "2009-04-26", "title": "ARTIST ROOMS 2009: Robert Mapplethorpe", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "25 September 2010 – 21 November 2010", "endDate": "2010-11-21", "exhibitionLegs": [ { "dateText": "25 September 2010 – 21 November 2010", "endDate": "2010-11-21", "id": 5399, "startDate": "2010-09-25", "venueName": "Towner (Eastbourne, UK)", "venueWebsiteUrl": "http://www.townereastbourne.org.uk/" } ], "id": 4527, "startDate": "2010-09-25", "title": "ARTIST ROOMS 2010: Robert Mapplethorpe", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "27 March 2011 – 26 June 2011", "endDate": "2011-06-26", "exhibitionLegs": [ { "dateText": "27 March 2011 – 26 June 2011", "endDate": "2011-06-26", "id": 6084, "startDate": "2011-03-27", "venueName": "John Hansard Gallery (Southampton, UK)", "venueWebsiteUrl": "http://www.soton.ac.uk/~hansard/" } ], "id": 4992, "startDate": "2011-03-27", "title": "ARTIST ROOMS 2011: Andy Warhol", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "9 May 2014 – 26 October 2014", "endDate": "2014-10-26", "exhibitionLegs": [ { "dateText": "9 May 2016 – 26 October 2016", "endDate": "2016-10-26", "id": 9080, "startDate": "2016-05-09", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 7446, "startDate": "2014-05-09", "title": "Mapplethorpe Self Portraits and Portraits", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "8 August 2015 – 7 November 2015", "endDate": "2015-11-07", "exhibitionLegs": [ { "dateText": "8 August 2015 – 7 November 2015", "endDate": "2015-11-07", "id": 9592, "startDate": "2015-08-08", "venueName": "Aberystwyth Arts Centre (Aberystwyth, UK)", "venueWebsiteUrl": null } ], "id": 7868, "startDate": "2015-08-08", "title": "ARTIST ROOMS 2015: Robert Mapplethorpe", "type": "Loan-out" } ]

Andy Warhol

1,983

ARTIST ROOMS Tate and National Galleries of Scotland

1983

CLEARED

4

support: 476 × 377 mm frame: 745 × 618 × 37 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nIn this black and white portrait photograph the artist Andy Warhol is seen standing up leaning his right shoulder against a white wall. The artist stares directly at the camera with a somewhat blank expression, his mouth slightly ajar, as he rubs his hands in front of himself in a nervous fashion. Warhol wears a turtleneck jumper underneath a black suit jacket, a pair of jeans into which his jumper is tucked, and his customary white wig. He stands in front of a plain grey backdrop which extends to the right edge of the print, while the white wall that he leans against is shot in line with the picture plane so that it appears as a flat vertical band occupying almost a quarter of the composition.\nBy the time this image was taken in 1983 Mapplethorpe and Warhol had already met on several occasions. The photographer took four portrait photographs of Warhol during the artist’s lifetime, all of which are in the ARTIST ROOMS collection, including another photograph taken during this same session in 1983 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mapplethorpe-andy-warhol-ar00219\" title=\"View the details of this artwork\">AR00219</a>). In another portrait Warhol assumes a pose similar to that adopted in this image, in which he faces the camera with a blank expression, with his hands forming a V shape in front of him (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mapplethorpe-andy-warhol-ar00220\" title=\"View the details of this artwork\">AR00220</a>). Making his sitters feel comfortable while being photographed was important to Mapplethorpe. He allowed his subjects to create a role in front of the camera, which Warhol does here with his blunt stare and awkward pose.\nWhile Warhol is captured in this image with a characteristic stark gaze, Mapplethorpe sensed a softening of the artist’s rigid exterior in a conversation with Warhol near the time of his death:\n\n<blockquote>I think he was finally becoming much more human somehow and he was voicing what he really thought as opposed to what people would react to. I think that was sort of one thing that I was really shocked about, that he died at a moment when I think he was finally sort of feeling comfortable somehow.</blockquote>\n<blockquote>(Mapplethorpe in Arena: Robert Mapplethorpe, dir. by Nigel Finch, BBC television documentary, 18 March 1988.)</blockquote>\nMapplethorpe was influenced by Warhol early in his career, and his move to Manhattan in 1969 was partially motivated by his desire to befriend Warhol. The singer Patti Smith noted that he ‘loved Andy Warhol and considered him our most important living artist. It was as close to hero worship as he ever got’ (Smith 2010, p.69). However, this admiration was also met with caution; Mapplethorpe’s biographer Patricia Morrisroe notes that the photographer soon realised that Warhol ‘wasn’t exactly the mentor type – people helped Warhol, not the other way around’ (Morrisroe 1995 p.140).\nIn the same year that this photograph was taken Warhol created a black and white silkscreen portrait of Mapplethorpe (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/warhol-robert-mapplethorpe-ar00232\" title=\"View the details of this artwork\">AR00232</a>). While the photographer may have been wary of Warhol he still held him in high regard, with Morrisroe describing the silkscreen portrait which hung in his living room on West 23rd Street as the ‘ultimate symbol’ of Mapplethorpe’s success (Morrisroe 1995, p.297).\n\nFurther reading\n Gary Indiana and Robert Mapplethorpe, ‘Robert Mapplethorpe’, BOMB, no.22, winter 1988, pp.18–23. Patricia Morrisroe, Mapplethorpe. A Biography, London 1995. Patti Smith, Just Kids, London 2010. \nSusan Mc Ateer University of Edinburgh June 2013\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n</div>\n", "display_name": "Summary", "publication_date": "2014-06-13T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "Andy Warhol (1928-1987) was one of the most influential artists of the late twentieth century. Indeed, Mapplethorpe had idolised him while he was studying at Pratt Institute in Brooklyn in the late 1960s. However, by 1973 when they showed together at the Gotham Book Mart in New York, they were distrustful of each other. In 1983 they photographed each other. Mapplethorpe’s photographs of Warhol show him with his customary blank expression. In this particular work, Mapplethorpe has emphasised Warhol’s loneliness by pressing him up against a wall and leaving an empty space on the right. He rubs his hands together rather nervously.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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null

false

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false

artwork

Photograph, gelatin silver print on paper

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1,982

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Francesco Clemente

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00151

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7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,982

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false

1

https://media.tate.org.u…R/AR00151_10.jpg

11413

paper print photograph gelatin silver

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Francesco Clemente

1,982

ARTIST ROOMS Tate and National Galleries of Scotland

1982

CLEARED

4

support: 375 × 375 mm frame: 643 × 620 × 38 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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null

false

92 2793 118 15760 4670 20118 3287 195 9328 20114

false

artwork

Photograph, gelatin silver print on paper

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3,517

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1,985

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Francesco Clemente

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00152

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7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,985

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false

1

https://media.tate.org.u…R/AR00152_10.jpg

11413

paper print photograph gelatin silver

[]

Francesco Clemente

1,985

ARTIST ROOMS Tate and National Galleries of Scotland

1985

CLEARED

4

support: 374 × 373 mm frame: 644 × 620 × 38 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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null

false

92 2793 118 15760 88 10639 20118 3287 195 9328 20114 270 846

false

artwork

Photograph, gelatin silver print on paper

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Henry Geldzahler

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00153

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7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,979

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false

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11413

paper print photograph gelatin silver

[ { "artistRoomsTour": true, "dateText": "25 September 2010 – 21 November 2010", "endDate": "2010-11-21", "exhibitionLegs": [ { "dateText": "25 September 2010 – 21 November 2010", "endDate": "2010-11-21", "id": 5399, "startDate": "2010-09-25", "venueName": "Towner (Eastbourne, UK)", "venueWebsiteUrl": "http://www.townereastbourne.org.uk/" } ], "id": 4527, "startDate": "2010-09-25", "title": "ARTIST ROOMS 2010: Robert Mapplethorpe", "type": "Loan-out" } ]

Henry Geldzahler

1,979

ARTIST ROOMS Tate and National Galleries of Scotland

1979

CLEARED

4

support: 341 × 341 mm frame: 612 × 586 × 38 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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[ "adults", "arts and entertainment", "beard", "body", "cigar", "clothing and personal items", "curator / director", "emotions, concepts and ideas", "formal qualities", "Geldzahler, Henry", "head / face", "individuals: male", "leisure and pastimes", "man", "named individuals", "objects", "people", "photographic", "portraits", "recreational activities", "smoking", "spectacles", "tie", "work and occupations" ]

null

false

118 1402 93 1193 88 3259 615 20118 195 9328 20114 52 2800 203 1639

false

artwork

Photograph, gelatin silver print on paper

[ { "append_role_to_name": false, "date": "1946–1989", "fc": "Robert Mapplethorpe", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/robert-mapplethorpe-11413" } ]

3,519

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999967, "shortTitle": "National Heritage Memorial Fund" }, { "id": 999999968, "shortTitle": "Art Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,978

<a href="https://www.tate.org.uk/art/artists/robert-mapplethorpe-11413" aria-label="More by Robert Mapplethorpe" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Robert Mapplethorpe</a>

Phillip Johnson

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00154

{ "id": 4, "meta": { "type": "art.Classification" } }

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,978

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false

1

https://media.tate.org.u…R/AR00154_10.jpg

11413

paper print photograph gelatin silver

[ { "artistRoomsTour": true, "dateText": "19 December 2009 – 27 March 2010", "endDate": "2010-03-27", "exhibitionLegs": [ { "dateText": "19 December 2009 – 27 March 2010", "endDate": "2010-03-27", "id": 5121, "startDate": "2009-12-19", "venueName": "Graves Art Gallery (Sheffield, UK)", "venueWebsiteUrl": "http://www.museums-sheffield.org.uk/coresite/html/graves.asp" } ], "id": 4296, "startDate": "2009-12-19", "title": "ARTIST ROOMS 2009: Robert Mapplethorpe", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "25 September 2010 – 21 November 2010", "endDate": "2010-11-21", "exhibitionLegs": [ { "dateText": "25 September 2010 – 21 November 2010", "endDate": "2010-11-21", "id": 5399, "startDate": "2010-09-25", "venueName": "Towner (Eastbourne, UK)", "venueWebsiteUrl": "http://www.townereastbourne.org.uk/" } ], "id": 4527, "startDate": "2010-09-25", "title": "ARTIST ROOMS 2010: Robert Mapplethorpe", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "9 May 2014 – 26 October 2014", "endDate": "2014-10-26", "exhibitionLegs": [ { "dateText": "9 May 2016 – 26 October 2016", "endDate": "2016-10-26", "id": 9080, "startDate": "2016-05-09", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 7446, "startDate": "2014-05-09", "title": "Mapplethorpe Self Portraits and Portraits", "type": "Collection based display" } ]

Phillip Johnson

1,978

ARTIST ROOMS Tate and National Galleries of Scotland

1978

CLEARED

4

support: 340 × 341 mm frame: 612 × 587 × 38 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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null

false

92 12591 88 124 195 9328 694 203 846

false

artwork

Photograph, gelatin silver print on paper

[ { "append_role_to_name": false, "date": "1946–1989", "fc": "Robert Mapplethorpe", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/robert-mapplethorpe-11413" } ]

3,520

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1,983

<a href="https://www.tate.org.uk/art/artists/robert-mapplethorpe-11413" aria-label="More by Robert Mapplethorpe" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Robert Mapplethorpe</a>

Doris Saatchi

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00155

{ "id": 4, "meta": { "type": "art.Classification" } }

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,983

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false

1

https://media.tate.org.u…R/AR00155_10.jpg

11413

paper print photograph gelatin silver

[ { "artistRoomsTour": true, "dateText": "26 April 2009 – 27 June 2009", "endDate": "2009-06-27", "exhibitionLegs": [ { "dateText": "26 April 2009 – 27 June 2009", "endDate": "2009-06-27", "id": 4903, "startDate": "2009-04-26", "venueName": "Inverness Museum & Art Gallery (Inverness, UK)", "venueWebsiteUrl": "http://www.invernessmuseum.com" } ], "id": 4104, "startDate": "2009-04-26", "title": "ARTIST ROOMS 2009: Robert Mapplethorpe", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "25 September 2010 – 21 November 2010", "endDate": "2010-11-21", "exhibitionLegs": [ { "dateText": "25 September 2010 – 21 November 2010", "endDate": "2010-11-21", "id": 5399, "startDate": "2010-09-25", "venueName": "Towner (Eastbourne, UK)", "venueWebsiteUrl": "http://www.townereastbourne.org.uk/" } ], "id": 4527, "startDate": "2010-09-25", "title": "ARTIST ROOMS 2010: Robert Mapplethorpe", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "11 May 2013 – 11 August 2013", "endDate": "2013-08-11", "exhibitionLegs": [ { "dateText": "11 May 2013 – 11 August 2013", "endDate": "2013-08-11", "id": 7860, "startDate": "2013-05-11", "venueName": "Old Gala House (Galashiels, UK)", "venueWebsiteUrl": null } ], "id": 6436, "startDate": "2013-05-11", "title": "ARTIST ROOMS 2013: Robert Mapplethorpe", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "9 May 2014 – 26 October 2014", "endDate": "2014-10-26", "exhibitionLegs": [ { "dateText": "9 May 2016 – 26 October 2016", "endDate": "2016-10-26", "id": 9080, "startDate": "2016-05-09", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 7446, "startDate": "2014-05-09", "title": "Mapplethorpe Self Portraits and Portraits", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "8 August 2015 – 7 November 2015", "endDate": "2015-11-07", "exhibitionLegs": [ { "dateText": "8 August 2015 – 7 November 2015", "endDate": "2015-11-07", "id": 9592, "startDate": "2015-08-08", "venueName": "Aberystwyth Arts Centre (Aberystwyth, UK)", "venueWebsiteUrl": null } ], "id": 7868, "startDate": "2015-08-08", "title": "ARTIST ROOMS 2015: Robert Mapplethorpe", "type": "Loan-out" } ]

Doris Saatchi

1,983

ARTIST ROOMS Tate and National Galleries of Scotland

1983

CLEARED

4

support: 374 × 375 mm frame: 743 × 620 × 38 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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null

false

93 615 20117 9328 20114 167

false

artwork

Photograph, gelatin silver print on paper

[ { "append_role_to_name": false, "date": "1946–1989", "fc": "Robert Mapplethorpe", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/robert-mapplethorpe-11413" } ]

3,521

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1,981

<a href="https://www.tate.org.uk/art/artists/robert-mapplethorpe-11413" aria-label="More by Robert Mapplethorpe" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Robert Mapplethorpe</a>

Francesca Thyssen

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00156

{ "id": 4, "meta": { "type": "art.Classification" } }

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,981

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false

1

https://media.tate.org.u…R/AR00156_10.jpg

11413

paper print photograph gelatin silver

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Francesca Thyssen

1,981

ARTIST ROOMS Tate and National Galleries of Scotland

1981

CLEARED

4

support: 441 × 341 mm frame: 714 × 587 × 39 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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null

false

4702 118 93 88 10061 615 1901 20117 629 9328 20114 869 2986 167

false

artwork

Photograph, gelatin silver print on paper

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3,522

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1,976

<a href="https://www.tate.org.uk/art/artists/robert-mapplethorpe-11413" aria-label="More by Robert Mapplethorpe" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Robert Mapplethorpe</a>

Honey

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00157

{ "id": 4, "meta": { "type": "art.Classification" } }

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,976

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false

1

https://media.tate.org.u…R/AR00157_10.jpg

11413

paper print photograph gelatin silver

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Honey

1,976

ARTIST ROOMS Tate and National Galleries of Scotland

1976

CLEARED

4

support: 340 × 342 mm frame: 612 × 586 × 38 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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null

false

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artwork